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《济北诗话》是在镰仓、室町时代宋人诗话传入的背景下形成的。无论是对宋人诗话的引用、诗话的编排体例,还是诗论用语、评述对象的选择,以及诗学主张的表述,《济北诗话》都与宋代魏庆之的《诗人玉屑》存在着千丝万缕的联系。这与这个时期正好是《诗人玉屑》初传日本,在皇室公卿、僧侣、歌人之间受到普遍关注有关。《济北诗话》又是在理学传入的背景下形成的,其中表现出的批判态度和质疑精神也是从宋儒那里继承来的。虎关诗学主张的独创性或特异性,也应该置于这样一个历史背景下来考察。
“Ji’nan Poetry” was formed against the background of the introduction of the poetry of the Song Dynasty in the Kamakura and Muromachi period. No matter it is a reference to the poetry of the Song Dynasty, the way of arranging the poetry, the poetic terminology, the choice of the object of comment, and the expression of poetic propositions, “Ji’Bei poetry” exists both with Qian Wei Million contacts. This is precisely the period when “poet jade” was first introduced to Japan, and it has been widely concerned about between the royal family, monks and singers. “Ji’nan Poetry” is formed under the background of the introduction of Neo-Confucianism, and the critical attitude and the spirit of questioning it shows are also inherited from Song Confucianism. The originality or specificity of Tiger Guanzhong’s propositions should also be investigated under such a historical background.