论绝海中津的《蕉坚稿》对中国古典文学的受容

发布时间：2018-03-16 15:37

本文选题：受容　切入点：中国文学　出处：《吉林大学》2014年硕士论文　论文类型：学位论文

【摘要】：绝海中津凭借超群的汉诗，与义堂周信被誉为五山文学的双壁，而其自选诗文集《蕉坚稿》因其题材丰富、诗意深远而在日本汉文学史上占有独一无二的地位。绝海曾来中国，修禅之余，研习诗文，，因此《蕉坚稿》深得中国古典文学的沾润与滋养。本论文从诗语、诗韵、诗风三方面来分析探讨其对中国古典代表诗、词、赋的受容。诗语的受容可细化为“取语”、“取意”、“取形”三部分。绝海活用古人佳句，丰富了诗句的表现力；“取意”既可深化诗的主题，又可以凝缩散文的主旨；而凭借对“省问有答”、“有问有答”、“有问省答”等对话形式的活用，充实了诗的对话空间。“取语”的丰富表现力、“取意”的再添新意、“取形”的开拓对话形式都表现出绝海对中国古典文学的深厚造诣。诗韵受容方面，据笔者统计，《蕉坚稿》共有34首和韵诗，其中，最难写的次韵诗反而占绝大多数，由此也可窥探到绝海敢于挑战的精神。从韵字的使用频率来看，下平一先、上平十一、上平一东的使用频率最高，笔者认为这属于绝海的个人喜好。首先，绝海惯用以上三种音韵中的“天”、“贤”、“新”、“东”、“风”等韵字，其次，以上三种音韵的韵母均为鼻韵母，从发音效果来看较浑厚低沉，对于身为禅师的绝海而言，这种沉着从容的发音非常符合自己的喜好。另外，在该章最后一节，通过对两首本韵诗和次韵诗的比较，也可以体会到绝海对次韵诗的自信。拙论从“诗”、“词”、“赋”三方面来分析诗风的受容。首先分别以山居诗、咏古诗、师友情诗为例，分析了绝海与王维、刘禹锡、孟浩然等代表诗人诗风的异曲同工之妙。其次，以陆游的《诉衷情·当年万里觅封侯》和苏轼的《念奴娇赤壁怀古》为例，分别与绝海的汉诗进行了对照分析，绝海虽站在旁观者的立场上吟咏历史，可其诗风与陆苏二人极为相像。另外，通过对司马相如的抒情名赋《长门赋》的分析可发现，绝海的《长门怨》描写了宫怨女子纤细的情感，在抒情方面深受《长门赋》的影响。绝海集百家精华于一身，从而形成了属于自己的特色。他之所以能对中国古典文学做到如此高深的受容，原因主要有以下两点。一是绝海在中国游学十年间，广泛涉猎中国古典文学，远从先秦近至明代均属于他的受容范围。原因之二则在于，绝海不仅是单纯的模仿，而是将自己的经验感悟与中国古典诗词赋理论相融合，达到了高水准的能动受容。
[Abstract]:Dianhai Zhongjin, by virtue of its superior Chinese poetry, and Zhou Xin of Yitang were praised as the double walls of the five Mountains literature. His selected collection of poems, Jiao Jian, occupies a unique position in the history of Japanese Chinese literature because of its rich theme and profound poetic meaning. After practicing Zen, we study poetry and prose. Therefore, Jiaojian draft has been deeply enriched and nurtured in classical Chinese literature. This paper analyzes and discusses its acceptance of Chinese classical representative poems, ci and Fu from three aspects: poetic language, poetic rhyme and poetic style. The acceptance of poetry can be divided into three parts: "taking language", "taking meaning" and "taking shape". And with regard to dialogue forms such as "asking and answering", "there are questions and answers", "asking questions and answering questions" and other forms of dialogue, It enriches the dialogue space of poetry, the rich expressive power of "taking language", the new meaning of "taking meaning", and the opening up of dialogue form of "taking shape" all show the profound attainments of the sea to Chinese classical literature. In terms of rhyme acceptance, according to the author's statistics, there are 34 poems and rhymes, of which the most difficult to write are the minor rhymes, which can also be peered into the spirit of daring to challenge the sea. From the frequency of the use of rhyme characters, we can see that the next verse is the first to be written. The use frequency of Shangping 11, Shangping Yidong is the highest, the author thinks this belongs to the absolute sea personal preference. First, the absolute sea uses the "days", "Xian", "new", "east", "wind" in the above three kinds of rhyme, secondly, The consonants of the above three rhymes are nasal vowels, which are relatively deep in terms of pronunciation effects. For the Zen master, this calm and calm pronunciation is very much in line with his preference. In addition, in the last section of this chapter, Through the comparison between the two poems, we can also understand the confidence of the two poems. My theory analyzes the acceptance of poetic style from three aspects: poetry, ci and Fu. Firstly, taking mountain dwelling poems, ancient poems and love poems of teachers and friends as examples, this paper analyzes the similarities and differences between Wei Hai and Wang Wei, Liu Yuxi, Meng Haoran and other representative poets' poetic style. Secondly, it analyzes the similarities and differences between Wei Hai and Wang Wei, Liu Yuxi, Meng Haoran and so on. Taking Lu you's "complaint against feelings" and Su Shi's "Nu Jiao Chibi nostalgic" as an example, the author compares and analyzes the Han poems of Bei Hai respectively. Although Bei Hai is standing on the bystanders' standpoint, he recites history. But his poetic style is very similar to Lu Su's. In addition, through the analysis of Sima Xiangru's lyrical name Fu "Changmen Fu", it can be found that Bei Hai's "Changmen resentment" depicts the delicate feelings of the palace resentful woman. In lyric aspect deeply "Changmen Fu" influence. Bei Hai is a collection of the best of all schools, thus forming his own characteristics. The main reasons why he was able to achieve such a profound acceptance of Chinese classical literature are the following. One is that he has been studying in China for ten years. The extensive study of Chinese classical literature, from the early Qin Dynasty to the Ming Dynasty, belongs to his tolerance. The second reason is that the sea is not only a mere imitation, but a combination of his own experience and the theory of Chinese classical poetry and Fu. Reached a high level of dynamic tolerance.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：I313.06

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