摘要
《三体诗》是宋人周弼编纂的一部唐诗选集。自14世纪以来,《三体诗》在室町时代禅僧之间反复被讲读、注释,形成了一个庞大的"抄物"文献体系。这些"抄物"既是江户俳人注释、接受《三体诗》的基础,也是其批判与超越的对象,森川许六《和训三体诗》就是其中的代表性著作之一。《和训三体诗》是"蕉门"俳人森川许六临终之际遗留的一部未竟之稿,该书从注释形式、内容、审美风格三个层面,实现了对日本《三体诗》注释史的超越。具体而言,《和训三体诗》在注释形式上选择了松尾芭蕉新创立的"俳文"文体,内容上注重以江户时代的风土文化进行"翻案",审美风格上则强调和汉交融、雅俗折衷。正是通过这三个层面的超越,森川许六将《三体诗》从室町禅僧以"政治讽喻说"为主流的注释史中释放出来,将唐诗审美带入一种冲淡、风雅的俳趣境界。
San Ti Shi is a collection of Tang poems compiled by Zhou Bi who lived in the Song dynasty. Since the 14 th century, San Ti Shi has been explained and annotated repeatedly by Zen monks and formed a huge philology system. The philology system is not only the basis for the Edo people to annotate and accept San Ti Shi, but also the object to criticize and transcend for them. Morikawa Kyoriku’s Wakun San Ti Shi is one of the most representative works. Wakun San Ti Shi is an unfinished manuscript left by Morikawa Kyoriku. The book transcends the Japanese annotation history of San Ti Shi from three aspects, such as annotation form, content and aesthetic style. Specifically speaking, in the annotation form, Kyoriku chose the "haibun" style that had been newly created by Matsuo Basho. In the content, it paid attention to the local culture of the Edo period, while in the aesthetic style, it emphasized the integration of the refined with the vulgar and mingled Chinese with Japanese culture. It is through the transcendence of these three factors that Morikawa Kyoriku released the San Ti Shi from the Muromachi Zen monk’s annotation history with "political allegory" as the mainstream, and brought the aesthetics of Tang poetry into a diluted and elegant realm of "haiku".
作者
郭雪妮
Guo Xueni(Shaanxi University)
出处
《日语学习与研究》
CSSCI
2021年第4期22-33,共12页
Journal of Japanese Language Study and Research
关键词
三体诗
注释史
森川许六
俳文
唐诗和训
San Ti Shi
annotation history
Morikawa Kyoriku
Haibun
the interpretation of Tang poems
