日刻《西湖竹枝集》与杨守知诗人形象的生成

The Collection of Zhuzhi Ci in the West Lake and the Formation of Yang Shouzhi’s Poetic Image

杨维桢收录元末百家唱和之作编《西湖竹枝集》,其诗多以男女之情为主题,构建出一个旖旎多情的西湖“景观”。江户文化年间,菊池五山在日本竹枝词创作渐兴的背景下,选元明清三朝诗人之作再编《西湖竹枝集》,意在推波助澜。日本竹枝词多反映游廓的风俗景象并涉笔于男女之情,带有鲜明的艳体色彩,其取材固受到本土文艺形式的影响,诗体定位则近于《西湖竹枝词》的都市艳歌属性。袁枚《随园诗话》登载了杨守知的《西湖竹枝词》,杨在清代诗坛声名不显,却在日本汉诗坛成为竹枝一体的代表诗人。竹枝词在日本诗坛的兴盛与杨守知“竹枝诗人”形象的生成,皆是性灵诗学在江户后期至明治时期产生普遍影响的具体表现。

Yang Weizhen collected worksfrom hundreds of writersin the Late Yuan Dynastyand edited The Collection of Zhuzhi Ci inthe West Lake(The Collection for short).The poems were mainly themed on the relationship between men and women,constructing a charming and sentimental“spectacle”of the West Lake.During the Edo Bunka period,Kikuchi Gozan selected works of poets from the Yuan,Ming and Qing dynasties and recompiled The Collection against the backdrop of the gradual rise of Japanese Zhuzhi Ci creation,with the intention to push the writing forward.Japanese Zhuzhi Ci mostly reflected the customs and scenes of corridorsand coped with the relationship between men and women,so it showed distinct amorous attributes,with its materials influenced by local literary and artistic forms,but its poetic positioning was close to the urban erotic traits of The Collection.Yang Shouzhi’s Zhuzhi Ci in the West Lake was recorded in Yuan Mei’s Poetic of Suiyuan.Yang was not well-known in the poetry circle of the Qing Dynasty,but became a representative poet of Zhuzhi Ci in Japan.The rise of Zhuzhi Ci in Japanese poetry and the emergence of Yang Shouzhi’s image as a“poet of ZhuzhiCi”are concrete manifestations of the universal influence of the Poetics of Natural Disposition from the late Edo period to the Meiji period.