《唐音》“不录乐府”辨——兼论《唐音》乐府诗对朝鲜汉诗的影响

A Rebuttal to the Claim“Yuefu Poems Were not Collected”in Tangyin:The Influence of Tangyin’s Yuefu Verse on Joseon Poetry in Classical Chinese

杨士弘《唐音》收录大量乐府诗,从文学角度构建“乐府唐音”,体现了元、明、清乐府观念的分化。其《凡例》言不收乐府,乐府将“类编续刊”,但与实际选诗不符。明初魏氏仁实堂刊本删掉此条凡例,解决文本失序的问题;但也有可能杨士弘受到当时重视礼乐和讽喻的乐府观念的影响,区分汉魏晋南北朝乐府与唐乐府,认为唐代不入乐、用近体且偏于抒情的拟歌辞并非正宗“乐府”。《唐音》所收唐体乐府并非元、明、清拟古乐府的主要对象,但在东亚汉文化圈的朝鲜半岛却因为《唐音》的广泛影响,唐体乐府被视为唐诗代表和汉诗典范,尤其在中期宗唐思潮中大量拟效,甚至因此对乐府概念产生“误读”。

Tangyin(《唐音》Sound of Tang)compiled by Yang Shihong(杨士弘)features a substantial collection of Yuefu poems,constructing a literary representation of“the sound of Tang in Yuefu style”and revealing the evolution of the Yuefu concept across the Yuan,Ming,and Qing Dynasties.Although the General Notices initially stated that Yuefu poems would not be included but rather“selected in the follow-on offering according to the category,”this contradicted the actual selection process of poems.In the early Ming dynasty(1368 AD–1644 AD),this note was removed from editions published by Master Wei’s Renshitang(魏氏仁实堂)to rectify inconsistencies in the text.However,it is plausible that Yang Shihong was influenced by contemporary notions of Yuefu,which emphasized the role of rites,music,and allegory in Yuefu poetry.Recognizing differences between ancient Yuefu and Tang Yuefu,Yang may have deemed Tang-style quasi-songs as not authentic Yuefu.While Tang-style Yuefu poems collected in Tangyin were not the primary focus in imitating ancient Yuefu in subsequent dynasties,they came to represent Tang poetry and served as a model for Chinese poetry,especially in the Korean peninsula within the East Asian Han cultural circle.During the Joseon Dynasty,poets extensively imitated Tang Yuefu style,leading to misconceptions about Yuefu poetry due to the influence of Tangyin.