比较白居易文学和《源氏物语》中的琵琶

发布时间：2018-04-24 16:04

本文选题：白居易文学 + 《源氏物语》　；参考：《山东大学》2017年硕士论文

【摘要】：音乐在中国古代文化中占有重要的位置。唐朝时期设置了众多音乐机构,音乐文化得到了高度的发展。文人也经常将音乐作为写作对象。其中白居易创作了大量关于音乐的诗歌,特别是在《琵琶行》中对琵琶女高超的演奏技艺及悲惨命运的描写,给人们留下了深刻的印象。音乐在日本古代文化中也占据着重要的位置。管弦、和歌、汉诗是平安朝贵族所必备的三个才能。《源氏物语》在描写游宴、男女恋爱、抒发感情时大都会涉及到音乐,54卷中几乎每一卷都有提到音乐。音乐在物语中起着非常重要的作用。其中多次写到琵琶的演奏,也对琵琶这种乐器进行了一定的评论。紫式部从小就学习汉文典籍。喜欢读《白氏文集》,并且巧妙的将其运用在自己的作品中。基于先行研究,可以发现紫式部在创作《源氏物语》时受到白居易的一些影响,并且琵琶这种乐器是由遣唐使传到日本,再者也有很多学者指出明石卷中,在明石君身上可以看到《琵琶行》的影子。基于以上三点,我认为可以将两者作品中的琵琶进行研究。通过阅读先行研究发现,日本的学者大多集中在研究《源氏物语》中的琵琶,或者是紫式部创作明石卷时有多少是受到《琵琶行》的影响这两方面。中国学者大多集中在对白居易的琵琶诗或者《琵琶行》这一首诗的研究上。作为日语专业的学生,本论文基于先行研究,通过将中日两作家笔下的琵琶进行对比分析,来了解琵琶在当时的中国和日本各是怎样的一种存在。本文主要从四个方面对白居易文学中的琵琶和《源氏物语》中的琵琶进行了考察。首先在第一章中明确中日琵琶的起源和发展。琵琶分为秦琵琶、曲项四弦琵琶和直项五弦琵琶。唐代诗歌中出现的琵琶一般是指曲项四弦琵琶,这种乐器起源于西域,随着胡人进入北方,胡文化风俗与汉文化风俗相融合,受到当时人们的喜欢。日本在奈良时代就派使者来学习,并设置培养琵琶师的雅乐寮,但是在平安初期琵琶这种乐器并未被天皇所演奏。第二章主要考察的是白居易文学和《源氏物语》中是如何对琵琶演奏进行的描写。这部分主要是从琵琶演奏的声音和演奏氛围两方面进行比较。白居易喜欢用"玉""珠""铃"这样清脆的声音来表现,有时会与"胡语"联系起来描写琵琶的声音。而在《源氏物语》中经常用"をかし""おもしろし"这样表达美意识的词语来形容琵琶的声音。两人在描写琵琶演奏的氛围时都非常重视音乐与自然、心情的融合。琵琶描写中经常会出现"月""秋风"这样的背景风物。白居易喜欢用琵琶来表达抒发忧愁之情,《源氏物语》中经常把琵琶作为排解忧愁,传达爱意的乐器来进行描写。第三章主要考察了白居易文学和《源氏物语》中的主要的琵琶演奏者。虽然在唐朝,琵琶非常受欢迎,但乐工琵琶女等演奏者的社会地位非常低。《源氏物语》中,男性的琵琶演奏者除明石入道之外,都是亲王等身份比较高的人。但是擅长弹奏各种乐器的光源氏,在宴游中一次也没有弹奏过琵琶。基于当时的社会背景,在富有政治意味的宴游中,一般是根据身份的高低来决定弹奏的乐器。所以光源氏一般演奏象征身份高贵的琴。第四章主要考察了白居易文学和《源氏物语》中对琵琶的评论。白居易虽然很喜欢琵琶,但是身为官僚的他,礼乐思想深深扎根于他的心里,在诗中将琵琶作为低俗的乐器进行批判。《源氏物语》中直接对琵琶的评论主要是两方面,一是从演奏姿势上来看不适合女性。二是要想提高琵琶演奏技艺,必须要跟多种乐器进行合奏,而且音乐跟自然的声音相融合才是优秀的演奏。通过以上四部分的考察,可以看到琵琶在白居易文学和《源氏物语》中各是怎样的一种存在。
[Abstract]:Music occupies an important position in ancient Chinese culture. In the Tang Dynasty, many music institutions were set up, and the music culture was highly developed. The literati often used music as a writing object. Bai Juyi created a large number of poems about music, especially in the pipa line, the superb performance of the Pipa and the tragic fate of the pipa. The description, which has left a profound impression on people. Music occupies an important position in the ancient Japanese culture. String, harmony, and Chinese poetry are the three qualities necessary for the peace of the aristocracy. It plays a very important role in the language. Many of them have been written to Pipa and also made some comments on the pipa. The purple Department has learned Chinese classics from childhood. He likes to read the Bai's anthology and applies it in his own works. Based on the previous study, the purple part can be found in the creation < the source material >. Some of the influence of Bai Juyi, and the pipa instrument is from the Tang Dynasty to Japan, and many scholars point out the shadow of the "Pipa line" in the Ming Shi Jun. Based on the above three points, I think the pipa in the two works can be studied. Many Chinese scholars focus on the study of Bai Juyi's Pipa poetry or the poem of "Pipa". As a student of Japanese majors, this thesis is based on the study of Chinese and Japanese, which is based on the study of Chinese and Japanese two. The author makes a contrastive analysis of how the pipa is in China and Japan at that time. This article mainly investigates the Pipa and the pipa in Bai Juyi's literature from four aspects. First, the origin and development of the Chinese and Japanese Pipa are clearly defined in the first chapter. The pipa is divided into Qin pipa and song item. The four string Pipa and the straight five string pipa. The pipa in the Tang Dynasty poetry usually refers to the four string pipa, which originated in the western regions. With the people entering the north, Hu cultural customs and Chinese culture and customs were fused and liked by the people at that time. In Nara, the Japanese were sent to study and set up the yalo squatter training the pipa teacher. But in the early stage of peace, the pipa is not played by the emperor. The second chapter mainly examines the description of Bai Juyi's literature and the tale of the tale of the source of the source of the pipa. This part is mainly compared to the two aspects of the sound and the atmosphere of playing the pipa. Bai Juyi likes to use the "jade" "Pearl" and "the bell" as a crisp sound. When the two people describe the atmosphere of the pipa, they always attach great importance to the music and nature, the fusion of mood, and the "Moon" often appears in the description of the pipa. "Autumn wind" like such a background. Bai Juyi likes to express sorrow with the pipa. "The tale of the source" often describes the pipa as a musical instrument to discharge sorrow and convey love. The third chapter mainly examines the Bai Juyi literature and the main Pipa performers in the "the source language". Although in the Tang Dynasty, the pipa was very popular, but the Tang Dynasty, but the pipa was very popular, but Musicians such as musicians are very low in social status. In the tale of "the source", the male Pipa performers, except for the Mingshi entrance, are the relatively high identities of the prince, but they are good at playing the light source of various instruments, and have not played the pipa once in the banquet Tour. Based on the social background of the time, the political dinner Tour In the fourth chapter, the fourth chapter mainly inspects the comments of Bai Juyi literature and the "the source language" of the pipa. Although Bai Juyi likes Pipa very much, but as a bureaucrat, the thought of ritual music is deeply rooted in his heart and will be in the poem. The pipa is criticized as a vulgar instrument. The comment on the pipa in "the source language" is mainly two aspects. One is that it is not suitable for women from the playing position. Two is to improve the playing skills of the pipa. It is necessary to play with a variety of instruments, and the combination of music and natural sound is excellent performance. Through the above four parts We can see the different kinds of Pipa's existence in Bai Juyi's literature and the tale of the origin.

【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I106-03

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