【作者】 李慧；

【导师】 牛海蓉；

【作者基本信息】 湖南大学 ， 外国语言文学， 2020， 博士

【摘要】 林罗山(1583-1657)不仅是日本江户时代的儒学宗师,也是创作颇丰的文学家。他现存用汉语创作的辞赋七篇,书、记、论、传、碑、铭等各体文章数百篇,诗歌更多达4693首,这些数量惊人的诗文被编入《林罗山文集》和《林罗山诗集》,两书均七十五卷。他的诗文除部分应用性、理论性文章外,绝大多数属于审美性的文学作品,尤其是诗赋具有较高的文学价值,被称为江户学者中文学的开创者。日本经历了安土桃山时代(1573-1603)的对内统一和对外(朝)扩张,至林罗山所处的江户时代(1603-1867),社会趋于稳定。经其师藤原惺窝(1561-1619)的推荐,林罗山出仕德川幕府,并连续成为四任将军的宗教顾问。中华朱子学能够上升为日本官学,与林家三代人的努力推动是分不开的。江户初期德川集团采取睦邻外交,并积极推崇汉学,中、日、朝文化交流频繁,产生了大量的汉诗唱和,加之“五山文学”(日本五座最高官寺中以禅宗僧侣为主体创作的汉文学)的历史积淀,江户汉诗及诗话走向繁荣,林罗山继承并发展了惺窝的朱子学派的诗学观。林罗山对中日诗歌理论具有一定贡献。他对诗歌的缘起、诗与文的关系、诗与作者的关系提出了一些新观点。他在精熟中日两种语言的基础上,除了对日本汉诗与和歌进行深入而细致地点评外,还对中国历代诗歌有独到的见解。不仅如此,林罗山还在汉诗与和歌中发现了两者的相通及相融之处,创造性地提出了“以倭歌咏汉事,以唐诗赋倭歌”的创作理论。此外,林罗山对语言文字学也有一定论述:梵语、日语、汉语、朝鲜语,以及汉字、片假名、佛教拉丁字等。他还提出掌握双语创作异常艰辛的论题,是古代文人中较早解释比较文学中语言运用和文学创作关系的理论家之一。林罗山的汉诗以律诗为主要形式,题材内容广泛。咏物诗数量最多(一千多首),涉及花、鸟、虫、饮食等,这些诗歌或咏物言志,表达自己“修齐治平”的儒家理想,或借物抒情,表达自己感伤忧愤的情绪,但较少单纯摹物之作。节序诗涉及春节、人日、端午、七夕等节日,诗中蕴含大量风俗礼节,充满了日本古代的人文风情和地方特色。纪行诗被称为最有特色的诗歌,作者观览自然山水时不忘借寺庙神社以怀古,途经城市古迹时不忘借古以寓今。此外,赠答诗也是重要的组成部分,国内外赠答诗除了礼仪应酬之外,还有切磋诗艺、交流感情的神交之作。这些汉诗都充满了丰富的中日文化意蕴,具有大量的历史信息。林罗山的七篇赋作由一篇文体赋《大猎赋》和六篇骚体赋组成。其赋题材涉及广泛:《感秋赋》是以咏秋为主题的抒情小品赋,《大猎赋》是以日本首领丰臣氏捕猎而展开铺叙描写的游猎类赋作,《扇赋》和《武野草赋》分别是托物寓理和借物抒怀的咏物赋。《鼻疾赋》和《齿落赋》是以身体病痛入手展开时政评论的疾病类赋。而《倭赋》不仅内容丰富而且融合现实与浪漫的艺术手法,是一篇夹叙夹议的宏大史诗性辞赋。林罗山的诗赋从思想内容到艺术表现力都具有较高审美性,除了受到日本传统文学的孕育与滋养,还缘于他对中国古典文学的研习与借鉴。从中日文学交流的视域下考察,他因向往陶渊明式的生活,敬慕屈原、杜甫的高尚情操,他的汉诗从题材、意象、文体形式、精神层面都可以探寻出对“楚辞”、陶诗、杜诗等文学经典的接受,他的赋作则从文体形式和题材内容两个方面,接受了中国古赋的影响。他的诗赋在积极吸收中国传统文学精华的同时,也因“本土化”创作而使作品表现出一些“变异”。总之,林罗山诗赋是建立在丰富深厚的中国文化典籍之上,但又不拘泥于单纯的模仿。林罗山对中华文化有强烈的认同感,这表现在他坚持日本开国源于中华的历史观,强调儒家道统在日本文化中的核心地位。林罗山虽然推崇中华优秀传统文化,但并不妄自菲薄,其诗赋中呈现出对大和民族的热爱以及对日本传统文化的歌颂,其诗赋不仅肯定本土宗教——神道教,对具有民族象征性的樱花和富士山,也极尽赞美之情。此外,他对日本岛国特色的海域、生物、民俗等也多有歌颂。更多还原

【Abstract】 Hayashi Razan(1583-1657)is not only a master of Confucianism in the Edo era of Japan,but also a writer with abundant creation.He now has seven pieces of Fu in Chinese,hundreds of books,records,theories,biographies,steles,inscriptions and other articles,and over 4693 more poems.These amazing poems have been included in the Hayashi Razan’s prose anthology and Hayashi Razan’s poetry anthology,both of which are seventy-five volumes.In addition to some practical and theoretical articles,most of his poems are aesthetic works,especially poems and Fu,which have high literary value and thus he is called as the founders of Chinese Studies of Edo scholars.Japan experienced the internal unification and external(Korean)expansion in the era of Momoyama Period(1573-1603),and the society tended to be stable in the Edo era(1603-1867)when Hayashi Razan lived.Recommended by his teacher,Fujiwaraseika(1561-1619),Hayashi Razan went to the Tokugawa Shogunate and became the religious adviser of four generals in succession.It is inseparable from the efforts of the three generations of Lin family to promote the rise of Chinese Zhuzi school to Japanese official school.In the early days of Edo,Tokugawa group adopted good neighborly diplomacy and actively respected Sinology.With frequent cultural exchanges among China,Japan and North Korea,a large number of Chinese poems were sung together.In addition,with the historical accumulation of "The Five-Mountain literature"(the Chinese literature created by Zen monks in the five highest official temples in Japan),Edo’s Chinese poems and poetry words flourished.Hayashi Razanin herites and developes the Poetics of Zhuzi school in Fujiwaraseika View.Hayashi Razan contributes to the theory of Chinese and Japanese poetry.He puts forward some new views on the origin of poetry,the relationship between poetry and literature,and the relationship between poetry and the author.On the basis of his mastery of both Chinese and Japanese languages,he not only makes in-depth and detailed site comments on Japanese Chinese poems and harmony songs,but also has unique views on Chinese poetry of previous dynasties.Besides,Hayashi Razan also finds the similarities between the two in the Han poetry and the harmony song,and creatively put forward the creation theory of "chanting the Han affairs with the Japanese songs,and Fu the Japanese songs with the Tang poetry".In addition,Hayashi Razan also discusses the philology of Sanskrit,Japanese,Chinese,Korean,as well as Chinese characters,Katakana,Buddhist Latin characters,etc.He also puts forward the proposition that it is extremely difficult to master bilingual creation,which is one of the theorists among the ancient scholars who explained the relationship between language use and literary creation in comparative literature.Hayashi Razan’s Chinese poetry takes rhythm poetry as its main form and has a wide range of themes and contents.The number of poems about things is the largest(more than 1000),involving flowers,birds,insects,food and so on.These poems either chant things to express their aspirations,express their Confucian ideals of "repairing the unity and governing the peace",or express their feelings of sadness and indignation by means of things,but they are selodom simple imitations of things.The prelude poem involves Spring Festival,people’s day,Dragon Boat Festival,Tanabata and other festivals.The poem contains a lot of customs and rituals,full of ancient Japanese cultural customs and local characteristics.The chronicle poetry is known as the most characteristic poetry.When the author views the natural landscape,he does not forget to borrow temples and shrines to recall the past,and when he passes through the city historic sites,he does not forget to borrow the past to embody the present.In addition,complimentary poems are also an important part.Apart from etiquette and social intercourse,there are also works of exchanging creation skills and feelings.These Chinese poems are full of rich cultural connotations of China and Japan as well as a lot of historical information.Hayashi Razan’s seven fu works are composed of one prose-style Fu Da Lie fu and six Sao style Fu.The themes of his fu are extensive: Gan Qiu Fu is a lyric essay with the theme of chanting autumn;Da Lie Fu is a kind of travel and hunting Fu with the theme of hunting by the Japanese leader,Feng Chen family;fan Fu and Wu Ye Cao Fu are respectively chanting things by means of material and material.“Fu of nose disease” and“Fu of tooth falling”are the kinds of Fu of disease which start with the body’s pain and make further comment on the current political issues.However,the Wo Fu is not only rich in content,but also an artistic technique integrating reality and romance.It is a grand epic poem with narration and discussion.Hayashi Razan’s poems and verses have a high aesthetic quality from ideological content to artistic expression.In addition to being nurtured and nourished by Japanese traditional literature,they own much to his study and reference of Chinese classical literature.From the perspective of literature exchange between China and Japan,he yearned for Tao Yuanming’s life and admired Qu Yuan and Du Fu’s noble sentiment.His Chinese poetry could trace the origin of "Chuci",Tao’s poetry,Du’s poetry and other literary classics from the subject matter,image,stylistic form and spiritual level.His fu works accepts the influence of ancient Chinese Fu from two aspects of stylistic form and subject matter content.His poetry and poetry actively absorb the essence of China’s traditional literature,but also make some works "variation" because of the localization.In a word,Hayashi Razan’s poems and Fu are based on rich and profound Chinese cultural classics,but they are not limited to simple imitation.Hayashi Razan has a strong sense of identity with Chinese culture,which is reflected in his adherence to the historical view that Japan’s founding originated from China and his emphasis on the core position of Confucian orthodoxy in Japanese culture.Although Hayashi Razan worships the excellent traditional Chinese culture,he does not belittle himself.His poems and Rhapsody show his love for Yamato and the traditional Japanese culture.His poems and Rhapsody not only affirm the local religion-Shinto religion,but also praise the cherry blossom and Mount Fuji with national symbolism.In addition,there are also many praises for the sea area,biology and folk customs with Japanese island characteristics.更多还原