论《诗薮》对《日本诗史》的影响  

The Influence of Hu Yinglin's Shi Sou on Emura Hokkai's History of Japanese Poetry

作　　者：胡欣[1] 严明[1] 

机构地区：[1]上海师范大学人文与传播学院

出　　处：《文艺理论研究》2015年第2期32-40,共9页Theoretical Studies in Literature and Art

基　　金：国家哲学社会科学重点规划项目"东亚汉诗史初稿"[项目编号:14AZW007];上海市哲学社会科学规划项目"东亚汉诗学新论"[项目编号:2013BWY005]中期成果

摘　　要：日本江户中期江村北海的《日本诗史》深受明代胡应麟《诗薮》的影响。形式上,在继承《诗薮》以诗话体记载诗史的基础上,《日本诗史》又融入史传的体例。内容上,江村北海发展了胡应麟"气运"说,提出了"世道"说,并指出"气运"是日本汉诗承接中土传统并另辟蹊径的根本原因,而"世道"则是日本汉诗得以独具本国特色的基因土壤。在诗歌审美方面,江村北海将胡应麟"格调声律、兴象风神"与本国"哀"审美观念融于一体,提出了格律声调、风雅并重的评诗标准。可以说,《诗薮》为江村北海撰写《日本诗史》提供了诗学基础及写作范式。When writing The History of Japanese Poetry,the Mid-Edo Japanese scholar Emura Hokkai( 1707-1782) was deeply influenced by Shi Sou( An Anthology of Poetry) compiled by Chinese Ming-Dynasty scholar Hu Yinglin's( 1551-1602). In compiling method,Emura's History of Japanese Poetry was written in the way that integrated narration of history through poetry commentaries with biographical history. In thematic treatment,Emura developed Hu's concept of 'qi yun'( spirit-mores) and proposed the concept of'shi dao'( generation-way),claiming that Hu's concept of'qi yun'was inherited by the Japanese and became the fundamental reason for the Japanese to develop its own poetics that grounded in 'shi dao '. In terms of poetic aesthetics,Emura integrated Hu's idea that tonal pattern and rhyme scheme represent the spirit with Japanese aesthetic concept of'aware( 哀れ) 'and proposed his criteria of poetic criticism. In conclusion,Hu Yinglin's Shi Sou provided a norm for Emura Hokkai to write The History of Japanese Poetry.

关 键 词：《诗薮》 《日本诗史》 “气运”说 比较汉诗学 诗歌审美 

分 类 号：I106.2[文学—世界文学]