韓愈≪秋懷詩≫在日本的接受
The Acceptance of Han Yu’s “Qiuhuai” Poems in Japan
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≪秋懷詩十一首≫作為韓愈五言古詩組詩的代表作, 不僅在中國歷代被詩家所關注、唱和, 其東傳日本後, 也受到了不同時期日本漢詩人的關注, 產生了多組次韻唱和的詩作｡ 在這些唱和詩作中, 尤以江戶早期的林春德、江戶後期的安積艮齋、幕末明治時期的大沼枕山所作最具代表性, 通過對這些作品與韓愈原詩的對讀分析, 及與同時代其他相關作品的比照, 可以瞭解到≪秋懷詩十一首≫在日本漢詩中的傳播與影響｡ 對≪秋懷詩十一首≫的唱和, 除了反映出日本在不同時期對韓愈詩歌與人格的接受情況外, 也折射出日本不同時期的朱子學發展狀況｡
Abstract
As a representative work of Han Yu’s five-character ancient poetry, “Eleven Poems of Qiuhuai” has not only been noticed and sung by Chinese poets throughout history but has also received attention from Japanese Han poets at different times after its spread to Japan, where it spawned multiple sets of rhymed poems. Among these songs and poetry works, the works of Lin Chunli of the early Edo period, Azumi Gyoji of the late Edo period, and Onuma Pillow of the Meiji period at the end of the Edo period are the most representative. Analyzing these works comparatively alongside Han Yu’s original poetry and comparing them with other related works created in the same period can yield an understanding of the dissemination of “Eleven Poems of Qiuhuai” and its influence on Japanese Han poetry Chinese poetry. The practice of replying rhyming of “Eleven Poems of Qiuhuai” not only reflects Japan's acceptance of Han Yu's poetry and personality in different periods but also reveals the development of Zhu Xi studies in Japan at different times.