松尾芭蕉的俳諧思考法－發句的革新過程與宋代文學

松尾芭蕉的俳諧與漢詩之關係密不可分。由於當時的俳諧已逐漸失去新鮮感與趣味性，芭蕉試從漢詩中尋求和歌或俳書所看不到的「新奇之趣」，來創新俳諧。因此，本研究依芭蕉二度引用「黃奇蘇新」之事實，探究宋代文學與芭蕉革新俳諧之關聯性。筆者考察芭蕉引用宋代文學之相關發句後，歸納出芭蕉引用宋詩並創新俳諧之三種思考法：首先為吸取宋代文人詠創之詩想。其次於發句中加入宋代文人之人格獨特性，向接待主致意。最後，是活用宋代文學特有的修辭法重新詠創發句。而芭蕉雖也以同樣的手法使用唐代文學來創新發句，但如關注芭蕉所追求之俳諧理念－「新奇之趣」，則可發現芭蕉不只贊揚「黃奇蘇新」，其「新奇之趣」之概念也與宋代文人之詩想有共通之處。基此，本論檢證芭蕉於宋代文學影響下革新俳諧之思考法，拼出「新奇之趣」成形的側像。

關鍵字

松尾芭蕉；宋代文學；發句；新奇之趣；詩想

並列摘要

Matsuo Bashō's interest in Chinese poetry is well known, and it is often pointed out that he used these influences to breathe new life into a stagnant early modern poetry scene. Based on the fact that Bashō has made references to the idea of ＂exquisitely novel＂ (kōki soshin), this paper examines the influences of Song period literature on the process through which he renovated haikai poetry. In doing so, I will show the following. 1. Bashō internalized the ＂poetic thinking＂ of Song literati. 2. Bashō aspired to the virtue of Song literati, and practiced it himself through the literary exchanges with his hosts. 3. He made use of uniquely Song period rhetorical styles. Based on an analysis of Bashō's technique alone, one has to conclude that the novelty of his hokku had its roots in both Song and Tang literature. However, this paper shows that the ＂poetic thinking＂ that made Bashō search for ＂novelty＂ in the first place, has more in common with the Song period than with the Tang period. This paper thus sets forth the thesis that Song literature was not merely an important influence on Bashō’s technique, but that it constituted the conceptual inspiration for the creation and practice of ＂novel＂ haikai.