《古今和歌集》与唐诗中“月”的意象之比较

A Comparison of Moon Images in Kokinshu and in Tang-Dynasty Poems

《古今集》中的咏月歌几乎都是叙景歌、恋歌,只有一首“羁旅歌”,即阿倍仲麻吕的“汉土见月”,也是唯一一首将“望月”与“望乡”联系在一起的作品。“三笠山明月”与日本文学中固有的月的意象不同,更接近李白望乡诗中的意象。传统的叙景歌以及恋歌中“待月”的意象,仍然保留了上代文学的特征,同时接纳了汉魏六朝诗中月的意象:包括清冷、寂寥的表层意象和悲愁、哀怨的深层意象。与《古今集》时代相近的唐诗,诗人们在汉魏六朝诗中月的意象中,融入了广阔的社会生活体验,创造出了更为丰富多彩的表层和深层意象。

Almost all odes to the moon in Kokinshu are either scenic depictions or love descriptions except one travelling poem named Viewing the Moon in China by Abeno Nakamaro, which associates moon-viewing with home-sickness. We can easily find that the image of the moon shown in Bright Moon over Mount Mikasa is different from the traditional image in Japanese literature, but quite similar to that in Li Bai's nostalgic poems. While maintaining Japan's literature characteristics of the previous dynasties, the image of waiting for the moon absorbs the features of the moon image in the poems of Han and Wei dynasties and the following dynasties with a surface image of cool and quietness and a deep image of sorrow and sadness. On the other hand, as a contemporary of Kokinshu, the poetry of Tang Dynasty integrates the abundant experiences of social activities in setting up the image of the moon, thus enriching it with more colorful surface and deep significance.