《千載佳句》文本空間的建構及其意義

日本平安朝出現多部漢詩秀句集的編纂，其中以大江維時所編《千載佳句》最具規模，共收153位唐人一千多聯詩句，採分類方式編纂，建立新的部類系統。筆者認為：編輯部類系統的斟酌、分合與歸繫，反映當時文人在詩歌閱讀活動中所體察的各種生之情境。學習漢詩日益深入的過程中，日本讀者將觀察焦點由作者身分、體裁差異轉移到生之情境的細膩判讀，並藉由二級類目的分類架構，大規模地重整漢詩秀句，建構體現日常生活經驗的文本空間。它上承《句題和歌》，下開《和漢朗詠集》，呈現中日文化交流過程中「認同」和「共存」的交互作用。本文凡分四節，首節先行整理日本平安中期以前詩歌選集的綸纂情形，彰顯《千載佳句》編輯部類系統的新方向。次節討論《千載佳句》以二級類目建構體現日常生活經驗的文本空間。第三節論述《千載佳句》的漢詩詩句以聯為單位進入秀句集的意義。最後以秀句集中被推為典範的白居易為例，展示了日本讀者將漢詩秀句文本體現於生活的例證。

關鍵字

千載佳句；秀句集；漢詩；中日交流；日本

並列摘要

A large number of compilations of fine couplets excerpted from Chinese poetry were made in Japan during the Heian 平安 period. Of these collections, Qianzaijiaju (千載佳句 A Thousand Years of Fine Verse), compiled by Ooeno Koretoki 大江維時, was arguably the most influential. This collection comprises over 1000 couplets compiled from the work of 153 Tang dynasty poets arranged into categories, establishing a new system of categorization. I believe that the selection and categorization of the material in this collection reflects the variety of experiences that the literati of the time saw and felt through poetry reading. As their knowledge of Chinese poetry deepened, Japanese readers began to shift their focus of their reading from questions of the author's identity or genre differences, to a critical reading of the life circumstances involved in the poems. Then, by reorganizing the couplets into a two-level category structure, these literati constructed textual spaces that encapsulated their experiences of everyday life. As a poetry collection, Qianzai jiaju had both predecessors and successors during the Heian Period, and so played a role that demonstrates the interactions of identity and coexistence that took place in the process of Sino-Japanese cultural exchange.There are four sections in this article. In the first section, a literature review of poetry compilation in the early and middle Heian Period is provided, showing the new direction of Qianzai jiaju's system of categorization. The second section discusses how Qianzai jiaju constructs a textual space reflecting daily experience through its two-level categorization. The third section explores the significance of using the couplet as the unit for compiling these collections of Chinese verse. In the final section, Bai Juyi's 白居易 verses, which were regarded as a model of fine verse in poetry collections, will be used as examples demonstrating the perspective of readers in Heian period Japan.