大沼枕山对白居易诗歌的接受  

Reception of Bai Juyi's Poetry by ōnuma Chinzan

作　　者：刘芳亮[1] 

机构地区：[1]解放军外国语学院科研部,河南洛阳471003

出　　处：《信阳师范学院学报（哲学社会科学版）》2011年第1期108-111,共4页Journal of Xinyang Normal University(Philosophy and Social Sciences Edition)

摘　　要：日本近世后期随着以古文辞学派为代表的拟唐、拟明诗风的衰颓,平明浅近的诗风藉此气运重现抬头之势,此前一直不受江户诗坛重视的白居易诗歌因此成为诗家的模仿对象,而在幕末诗坛有着重要影响力的大沼枕山便是其中之一。他对白诗的吸收并不局限于和韵等常见形式,更是在深刻理解白诗的基础上积极摄取其创作技法,将日本本土传说故事整合于歌行体诗歌中,实现了汉诗的日本化,这其实也表明了江户后期诗坛接受白诗的成熟情况。In early modern Japan, as the Ancient Rhetoric School gradually lost its popularity, the poetic style imitating Tang and Ming Dynasty poetry began to give way to a new style of simplicity. Bai Juyi＇s poetry, which had been ignored by the poetic circles of Edo for a long time, now became a model for various poets, among which onuma Chinzan of the late Tokugawa Shogunate was a typical example. onuma Chinzan, not only using the same rhyme sequence, but also trying to absorb Bai Juyi＇s poetic techniques on the basis of a thorough understanding of Bai＇s poetry, integrated Japan＇s national legends into Gexing poetry and finally succeeded in the localization of the Chinese poetry. This paper is meant to argue that onuma Chinzan witnesses Japan＇s full reception of Bai Juyi＇s poetry during the last phase of Edo Period.

关 键 词：大沼枕山 白居易诗歌 接受 新乐府 日本化 

分 类 号：I206.2[文学—中国文学]