《沧浪诗话》与日本江户时代歌论  

Canglang Shihua and Waka theory in Edo period of Japan

作　　者：祁晓明[1] 

机构地区：[1]对外经济贸易大学中文学院,北京100029

出　　处：《暨南学报（哲学社会科学版）》2013年第5期99-108,163,共10页Jinan Journal(Philosophy and Social Sciences)

基　　金：教育部人文社会科学基金青年项目<比较诗学的东亚生成>(批准号:10YJC751038)

摘　　要：在日本近世,《沧浪诗话》不仅引起了儒者们的广泛关注,而且还在歌论中频繁地被征引援用,在歌学理论的构建过程中,更发挥着重要的作用。沧浪诗论适应了近世新的时代思潮,其"工夫须从上做下,不可从下做上"的观点为近世诗、歌论所广泛接受。其"诗者吟咏性情"、反对"以议论为诗"的主张经过仁斋、徂徕的改造,形成"道人情"和"排议论"说,并深刻影响了契冲、贺茂真渊及本居宣长的歌学理论。儒者对沧浪诗论的热衷,直接或间接地影响到歌学者对于沧浪诗论的取舍,而近世初期即已开始的儒学对歌学,汉诗论对于歌论的强势渗透,以及儒者本身具备的深厚和歌教养,他们与歌学者之间的密切交往,歌人、歌论家们的儒学教育背景,也是《沧浪诗话》对歌论产生影响的原因。Canglang shihua,a well-known Chinese poetry theory book written in Somg dynasty by Yanyu,deeply affected Waka theory in Edo period.Its viewpoints such as the poetry should show people feelings and comments should not be written in poetry were transformed by Itojinsai and Ogiyusorai,which became their own poetry theory.And then their theory were accepted by Waka theorists of Edo period,such as Keityu,Kamonomabutyi and Motoorinorinaga.Canglang shihua adapted the needs of the zeitgeist of Edo period that the poetry should be the performance of human,not be a reasoning tools.Canglang Shihua plays an important role in the process of building Waka theory in Edo period of Japan.

关 键 词：沧浪诗话 近世 歌论 影响 

分 类 号：I109.9[文学—世界文学]