那波魯堂與關西詩壇－從其儒學與詩學的關連談起－

The Relationship between Nabarodo and Kansai Poem Society: on the Connection between Confucian School and Poetry

10.6183/ntujp.2012.23.25

朱秋而(Chiou-Er Ju)

那波魯堂 ； 關西詩壇 ； 儒學 ； 宋詩 ； 菅茶山 ； Nabarodo ； Kansai poet society ； Confucianism ； Song Poetry ； Kan Tyazan

台大日本語文研究

23期（2012 / 06 / 01）

25 - 48

日文

日本江戶的漢詩開始脫離古文辭學派的影響，正式展開新的詩風要從江戶的折衷派儒者井上金峨（1732-1784）的弟子山本北山（1752-1812）的《作詩志彀》問世，這也開啟了批判偽唐詩以及宋詩大受歡迎的風潮，學界先進的論述頗多，無庸贅述。其中有關京坂詩壇的詩風轉變，一般認為是從詩僧六如上人慈周（1734-1801）開始積極攝取南宋詩開始，例如出版了《葛原詩話》一書就是最佳的佐證。確實六如給葛子琴、菅茶山等年輕詩人們在作詩與詩論上很大的啟發與影響。不過，能擊退尊崇盛唐詩，轉而普遍接受宋詩的基礎，應該與儒學史流變的價值轉換息息相關。從折衷派儒學到清新詩風的變化雖然偶爾被提及，卻沒有深入的探討與研究。本論文擬從那波魯堂著述《學問源流》和《韓人筆談錄》等第一手文獻分析探討，包括其弟奧田元繼以及門徒西山拙齋（1735-1798）、畠中觀齋（1752-1801）、菅茶山（1748-1827）等人的儒學與詩學的關連性，試圖進一步釐清熱愛陸游詩的聖護院侍讀那波魯堂對江戶後期詩壇的貢獻與重要性。

Sakusi Sikoku (《作詩志彀》), a collection of Han Poetry in Edo era, which was written by Kitayama Hokuzan (1752-1812) as a pupil of Inoue Kinga (1732-1784) belonging to Compromise school, started to get rid of the influence of the classical school, and formally to unfold a new style, opening a trend in criticizing fake Tang poetry and Song poetry. As for the transformation in Kyoto and Osaka poem society, the public think that it was started from 詩僧六如上人慈周 (1734-1801) who began to actively assimilate the poetry in Southern Song Dynasty. The best proof is the publication of Katsugensiwa (《葛原詩話》). Definitely, the young generation of poets such as Katsusikin, Kantyazan, and so on, were influenced and inspired by 六如 on creating poems and poetry criticism. However, being able to defeat revered Tang poetry and turn to accept Song poetry should be related to the transformation of values of the history of Confucianism. The change from Compromise school to the pure and fresh style was mentioned now and then, but not investigated and studied deeply. This thesis plans to analyze and make a thorough inquiry from the first-hand documents including Gakumonhgenryu (《學問源流》) , Kanzinhitsudanroku (《韓人筆談錄》) written by Nabarodo, about the connection between Confucianism and poetry of his brother Okuda Mototsugu's and his pupils Nisiyama Sessai's, (1735-1798), Hatakeyama Kansai's (1752-1801), Kantyazan's (1748-1827) works. This thesis can also clarify the contribution and importance of Nabarodo to the late Edo era, who was an attendant and loved Lu You's poetry enthusiastically.

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