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作 者:郭建勋[1] 邱燕[1] Guo Jianxun;Qiu Yan
机构地区:[1]湖南大学文学院
出 处:《国际汉学》2018年第4期138-144,203,共8页International Sinology
摘 要:辑录于天皇敕撰之《经国集》的《重阳节神泉苑赋秋可哀》九首,是平安初期九位日本皇室贵族"同题共作"的汉文佳作。这组作品全面模仿、借鉴汉唐"悲秋"主题的诗赋,以西晋夏侯湛《秋可哀》为直接范本。其篇章结构、语词意象大抵模拟夏侯湛原作等传统诗赋,但增加了五、七言诗体和骚体的"兮"字句等多种句式,形成一种句法参差灵活、音韵流转优美的特殊品格。《赋秋可哀》九首继承了汉唐"悲秋"诗赋写景抒情、借物表哀的传统手法,抒写相对单一的时光消逝之哀,几乎没有怀才不遇、叹逝悼亡等社会性情感,亦无痛苦、焦灼、愤懑等趋于激烈的情绪,哀而不伤、悲而不痛,表现出深情哀婉而又平淡冲和的风格。这既是中华汉唐文化与日本民族文化结合的产物,也是日本早期"物哀"美学初步形成的一个标志。The nine pieces of Mourning on Autumn on Double Ninth Festival in Shensen’en,recorded in the imperial collection of the imperial rescript Keikokushu,were excellent works in Chinese written by nine Japanese imperial nobles in the early period of the Heian Era.Taking Mourning on Autumn,written by Xia Houzhan,a wellknown poet in the Xijin dynasty as reference,these nine poems fully imitated the poetic odes of the Han and Tang dynasties with the theme of laments in autumn.Also,the structure and imagery of the text were similar to those of traditional poems such as Xia Houzhan’s original works,but it added a variety of sentence patterns such as five-or seven-word lines of poetry and"Xi"patterns of the Sao poetry style,forming a special characteristic of flexible and elegant syntactic rhymes.All these nine pieces inherited the techniques of traditional writings,namely poems and Fu related to"lament in Autumn"of the Han and Tang dynasties,which expressed emotions through scenes and sadness through objects.However,with the emphasis they made on the sadness of the passage of time,there was almost neither social emotion such as regret over death and mourning,nor intense emotions such as bitterness and burning anger.This style of writing was not only the combination of the Chinese culture of the Han and Tang dynasties with Japanese national culture but a sign of early formation of aesthetic of"mononoawear"in Japan.
关 键 词:日本平安初期 《重阳节神泉苑赋秋可哀》 夏侯湛 悲秋 物哀
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