論時風嬗變下的日本近現代漢詩作法書

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 受日本明治漢詩興盛及受衆庶民化的影響，明治十年以後，有大量漢詩作法書行世。這類書籍標舉便覽性質，在編撰體例上側重學詩法則與熟語相結合，尚簡明適切。日人或是出於治學志趣，或是出於政治需求，主張復興漢詩，體現在導人學詩上，有強調作新語新題的維新説，亦有排斥奇巧詩風的尚古格嚴正派。但二者均堅持初學者應辨别聲律平仄，遠無其時流行的平仄廢止論極端。這類漢詩作法書，體現了日本近現代漢詩通俗化、本土化的傾向，有些還被中國人所翻譯，是近現代時風嬗變下維繫、復興漢詩地位之良器。 Classical Chinese poetry flourished in the Meiji reign-period and its readership became more mainstream. After the tenth year of the Meiji reign-period (1877), several guidebooks of classical Chinese poetry writing were published. One feature of these books is their ease of use. Special attention was given to one learning method, in that the acquisition of poetry composition skills began with familiar vocabulary. These books pursued concision and precision. Of these Japanese authors, some claimed to revive classical Chinese poetry as a means by which they would achieve their academic goals or fulfil their political advocacies. As a result, in teaching poetry composition, some advocated political reforms by placing emphasis on using neologies and new titles, while some defined themselves as classicists and conventionalists who refused to accept grotesque and skillful poetic styles. However, all these authors insisted that beginners should learn how to identify level tones and deflected tones, and did not come around with the then-prevalent extreme trend abolishing the tonal scheme. The circulation of these kinds of prosodic guidebooks reveals the popularization and localization of classical Chinese poetry composition in modern Japan. Some of these books were translated by Chinese people and became a useful tool for the preservation and revival of classical Chinese poetry during the changes in early modern Japan.