唐代漁父詞與日本《經國集》十三首〈漁歌〉之比較

A Comparison between the ＂Fisherman Ci＂ in Tang China and Thirteen ＂Fisherman's Songs＂ in the Japanese Kanshi Collection Keikokushu

蕭麗華(Li-Hua Hsiao)

《臺大東亞文化研究》 2期 (2014/06) Pp. 1-20

https://doi.org/10.6579/NJEAC.2014.2.1

摘要

漁父題材的詩歌在唐代文學中逐漸形成一個特殊的文學類型。它不僅在詩歌形式上影響唐宋詞的產生，在文化內涵上也有從道家隱逸思想與禪宗引渡思維的融合。漁父詞在唐代開始傳播流傳到日本平安時代，日本《經國集》卷十四所錄嵯峨天皇的〈漁歌〉五首，實際上是張志和（730?－810?）〈漁歌子〉的摹擬之作，為唐詩影響日本平安時代漢詩的具體例證。本文擬從「文化意蘊」與「詩歌形式」上雙重的流衍，來觀察唐代漁父詞對日本〈漁歌〉十三首之影響。全文分「中國漁父形象的演變與文化意涵」、「唐代漁父詞的內涵流衍與文學特徵」、「日本《經國集》十三首〈漁歌〉的內涵與文學特徵」等三大主要章節加以分析，結果發現，在詞調體製上，日本〈漁歌〉較乏「定格聯章」的體現，句式有誤為「7－7－6－7」的傾向，藤三成〈漁歌〉一首特別歸於整齊化，推測這應該是唐詩律體化的影響。從漁父形象來說，日本〈漁歌〉單純表達遺世獨立的物外之想，其中的「漁父」只是隱者形象的想像；唐代的「漁父詞」則包含著道家隱逸、道教神仙與佛教引渡等多元思想，產生隱士、神仙、禪師等多元形象。

關鍵字

〈漁歌子〉 ； 漁父詞 ； 唐詩 ； 日本漢詩 ； 平安時代

並列摘要

Of Tang Dynasty literature, fisherman poetry gradually become a specific genre, which not only gave impetus to Tang and Song ci poetry, but also combined the Taoist reclusive thought and the enlightening concepts of Zen. Since the Tang Dynasty, ＂Fisherman Ci＂ had been transmitted to Heian Japan. For instance, Emperor Saga's five ＂Fisherman's Songs,＂ included in the Kanshi collection Keikokusu, are practically imitations of Zhang Zhihe's work ＂A Fisherman's Song＂, showing us the influence of Tang Poetry on Kanshi. This article intends to inspect the influence on thirteen Japanese ＂Fisherman's Songs＂ by ＂Fisherman Ci＂ of the Tang Dynasty from the perspective of two primary changes: cultural meaning and poetic form.This article proceeds using three points of analysis: ＂The transition and cultural meaning of the fisherman figure in Chinese literature,＂ ＂The content changes and literary characteristics of 'Fisherman Ci' in the Tang Dynasty,＂ and ＂The content and characteristic of thirteen 'Fisherman's Songs' in Keikokusu.＂ We found that among the ＂Fisherman's Songs＂ in Keikokusu, it is relatively rare that they follow the linked chapter ci style, while it is more common to see verses using a different sentence pattern of 7-7-6-7 words-＂The Fisherman's Song＂ written by Fujinari no Mitsunari is composed of four lines with seven words per line. We hypothesize that this has been influenced by the Tang poetry's development toward Lushi. As for the figure of the fisherman, the Japanese ＂Fisherman's Songs＂ simply express a reclusive thought, among which the ＂fisherman＂ is only the imaginary character of hermits. On the other hand, the ＂Fisherman Ci＂ genre in Tang China contains complicated motifs, including the Taoist recluse, the Taoist celestial, and the Buddhist enlightenment, thereby embodying multiple literary figures such as hermits, celestials, Zen masters, and others.

並列關鍵字

＂A Fisherman's Song＂ ； ＂Fisherman Ci＂ ； Tang Poetry ； Kanshi ； Heian period