發(fā)布時(shí)間：2018-03-16 15:37

  本文選題：受容　切入點(diǎn)：中國文學(xué)　出處：《吉林大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：絕海中津憑借超群的漢詩，與義堂周信被譽(yù)為五山文學(xué)的雙壁，而其自選詩文集《蕉堅(jiān)稿》因其題材豐富、詩意深遠(yuǎn)而在日本漢文學(xué)史上占有獨(dú)一無二的地位。絕海曾來中國，修禪之余，研習(xí)詩文，，因此《蕉堅(jiān)稿》深得中國古典文學(xué)的沾潤與滋養(yǎng)。本論文從詩語、詩韻、詩風(fēng)三方面來分析探討其對(duì)中國古典代表詩、詞、賦的受容。 詩語的受容可細(xì)化為“取語”、“取意”、“取形”三部分。絕�；钣霉湃思丫�，豐富了詩句的表現(xiàn)力；“取意”既可深化詩的主題，又可以凝縮散文的主旨；而憑借對(duì)“省問有答”、“有問有答”、“有問省答”等對(duì)話形式的活用，充實(shí)了詩的對(duì)話空間�！叭≌Z”的豐富表現(xiàn)力、“取意”的再添新意、“取形”的開拓對(duì)話形式都表現(xiàn)出絕海對(duì)中國古典文學(xué)的深厚造詣。 詩韻受容方面，據(jù)筆者統(tǒng)計(jì)，《蕉堅(jiān)稿》共有34首和韻詩，其中，最難寫的次韻詩反而占絕大多數(shù)，由此也可窺探到絕海敢于挑戰(zhàn)的精神。從韻字的使用頻率來看，下平一先、上平十一、上平一東的使用頻率最高，筆者認(rèn)為這屬于絕海的個(gè)人喜好。首先，絕海慣用以上三種音韻中的“天”、“賢”、“新”、“東”、“風(fēng)”等韻字，其次，以上三種音韻的韻母均為鼻韻母，從發(fā)音效果來看較渾厚低沉，對(duì)于身為禪師的絕海而言，這種沉著從容的發(fā)音非常符合自己的喜好。另外，在該章最后一節(jié)，通過對(duì)兩首本韻詩和次韻詩的比較，也可以體會(huì)到絕海對(duì)次韻詩的自信。 拙論從“詩”、“詞”、“賦”三方面來分析詩風(fēng)的受容。首先分別以山居詩、詠古詩、師友情詩為例，分析了絕海與王維、劉禹錫、孟浩然等代表詩人詩風(fēng)的異曲同工之妙。其次，以陸游的《訴衷情·當(dāng)年萬里覓封侯》和蘇軾的《念奴嬌赤壁懷古》為例，分別與絕海的漢詩進(jìn)行了對(duì)照分析，絕海雖站在旁觀者的立場上吟詠歷史，可其詩風(fēng)與陸蘇二人極為相像。另外，通過對(duì)司馬相如的抒情名賦《長門賦》的分析可發(fā)現(xiàn)，絕海的《長門怨》描寫了宮怨女子纖細(xì)的情感，在抒情方面深受《長門賦》的影響。 絕海集百家精華于一身，從而形成了屬于自己的特色。他之所以能對(duì)中國古典文學(xué)做到如此高深的受容，原因主要有以下兩點(diǎn)。一是絕海在中國游學(xué)十年間，廣泛涉獵中國古典文學(xué)，遠(yuǎn)從先秦近至明代均屬于他的受容范圍。原因之二則在于，絕海不僅是單純的模仿，而是將自己的經(jīng)驗(yàn)感悟與中國古典詩詞賦理論相融合，達(dá)到了高水準(zhǔn)的能動(dòng)受容。
[Abstract]:Dianhai Zhongjin, by virtue of its superior Chinese poetry, and Zhou Xin of Yitang were praised as the double walls of the five Mountains literature. His selected collection of poems, Jiao Jian, occupies a unique position in the history of Japanese Chinese literature because of its rich theme and profound poetic meaning. After practicing Zen, we study poetry and prose. Therefore, Jiaojian draft has been deeply enriched and nurtured in classical Chinese literature. This paper analyzes and discusses its acceptance of Chinese classical representative poems, ci and Fu from three aspects: poetic language, poetic rhyme and poetic style. The acceptance of poetry can be divided into three parts: "taking language", "taking meaning" and "taking shape". And with regard to dialogue forms such as "asking and answering", "there are questions and answers", "asking questions and answering questions" and other forms of dialogue, It enriches the dialogue space of poetry, the rich expressive power of "taking language", the new meaning of "taking meaning", and the opening up of dialogue form of "taking shape" all show the profound attainments of the sea to Chinese classical literature. In terms of rhyme acceptance, according to the author's statistics, there are 34 poems and rhymes, of which the most difficult to write are the minor rhymes, which can also be peered into the spirit of daring to challenge the sea. From the frequency of the use of rhyme characters, we can see that the next verse is the first to be written. The use frequency of Shangping 11, Shangping Yidong is the highest, the author thinks this belongs to the absolute sea personal preference. First, the absolute sea uses the "days", "Xian", "new", "east", "wind" in the above three kinds of rhyme, secondly, The consonants of the above three rhymes are nasal vowels, which are relatively deep in terms of pronunciation effects. For the Zen master, this calm and calm pronunciation is very much in line with his preference. In addition, in the last section of this chapter, Through the comparison between the two poems, we can also understand the confidence of the two poems. My theory analyzes the acceptance of poetic style from three aspects: poetry, ci and Fu. Firstly, taking mountain dwelling poems, ancient poems and love poems of teachers and friends as examples, this paper analyzes the similarities and differences between Wei Hai and Wang Wei, Liu Yuxi, Meng Haoran and other representative poets' poetic style. Secondly, it analyzes the similarities and differences between Wei Hai and Wang Wei, Liu Yuxi, Meng Haoran and so on. Taking Lu you's "complaint against feelings" and Su Shi's "Nu Jiao Chibi nostalgic" as an example, the author compares and analyzes the Han poems of Bei Hai respectively. Although Bei Hai is standing on the bystanders' standpoint, he recites history. But his poetic style is very similar to Lu Su's. In addition, through the analysis of Sima Xiangru's lyrical name Fu "Changmen Fu", it can be found that Bei Hai's "Changmen resentment" depicts the delicate feelings of the palace resentful woman. In lyric aspect deeply "Changmen Fu" influence. Bei Hai is a collection of the best of all schools, thus forming his own characteristics. The main reasons why he was able to achieve such a profound acceptance of Chinese classical literature are the following. One is that he has been studying in China for ten years. The extensive study of Chinese classical literature, from the early Qin Dynasty to the Ming Dynasty, belongs to his tolerance. The second reason is that the sea is not only a mere imitation, but a combination of his own experience and the theory of Chinese classical poetry and Fu. Reached a high level of dynamic tolerance.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：I313.06

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