東亞漢詩的艷情傳統———以琉球詩人蔡大鼎爲例

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 晚清琉球詩人蔡大鼎曾以使臣身分遍遊中國諸省，其中不乏冶遊之作。對前代士妓雅情之追慕與模仿促成其“意淫觀”在艷詩中的體現。另一方面，在選擇性書寫的意識下，蔡氏的大部分艷詩並不帶有過多個人情感色彩，而是直觀地描繪晚清時期的青樓實況。此外，蔡大鼎的“島女情結”揭示了其艷情外衣下征夫思婦主題的內核。藉助琉球蔡氏的艷詩創作，再反觀朝鮮、日本等國，其艷情傳統各有淵源，並呈現出本國文化的特徵，綜合比較可見艷詩一體在東亞各國的受容與傳播境遇。 Erotic poetry is a unique style of Chinese poetry in East Asia. Cai Dading (Japanese spelling: Sai Taitei, b. 1823), a poet who hailed from Ryukyu but traveled to numerous provinces in China in his tenure as an envoy, wrote a number of poems on pleasure seeking in entertainment quarters. His admiration and emulation for the interactions between intellectuals and entertainers gave rise to his “poetics of psycholagny.” On the other hand, his selective approach towards writing resulted in poetic works that were not really colored by personal feelings but were simply realistic reconstructions of imagery from entertainment quarters in late Qing times. In addition, his “attachment to island ladies’ sentiments” are revealed in his dealing with the traditional theme of “the sojourner missing his forlorn wife.” Comparing Cai’s erotic poetry with its counterparts in Japan and Korea, we observe that they each had distinct origins marked by their respective national characteristics. This comparative study shall yield hints to the reconstruction of how erotic poetry was received and transmitted in East Asian countries.