山本章夫的二〈南〉詩觀──以朱熹為主的比較研究

Akio Yamamoto's Views on Poetry in ＂Zhounan＂ and ＂Shaonan＂: A Comparative Study with Zhu Xi

本文旨在透過比較等方法，究明山本章夫的二〈南〉詩觀與朱熹的異同。學界與本議題相關的研究有岳雁虹《山本章夫《詩經新註》研究》及〈山本章夫詩經新註簡介〉，但因無設立章節專論此議題，顯示此議題值得繼續研究。因此，本文想透過章夫的二〈南〉解釋，比較章夫與朱熹之說，藉以闡明二人詩觀的異同。為達此目的，以先陳述毛《傳》、鄭《箋》、孔《疏》、朱《傳》等之說，再對照章夫之說，其間隨文參照中、日學者相關論述，以見其與前賢、後學之新舊異同為步驟，從而探究章夫二〈南〉說在明治時代之《詩經》學史發展上之意義。研究結果顯示：章夫認為二〈南〉的「南」是指文王之化自西北而大行於南方，此說雖較朱熹等「自北而南」說精細，但仍不免有「漢儒謬見」之批評。章夫解二〈南〉詩詞有超過半數以上是援用朱《傳》註解，說明章夫二〈南〉詩觀確實植基於朱《傳》。章夫對二〈南〉詩詞的解釋，容或有異於中、日前人之說，可視為是章夫解《詩》的特色。章夫雖說以詩人之情盡改三百篇詩，但對二〈南〉詩旨的改寫，並非盡以情說詩。且其建立在詩人刻畫女性情感的表現，顯示明治時代學者重視文學性的鑑賞及詩人情感上的抒發。而其《詩經新註》在日本《詩經》學發展史上，則有補益朱《傳》之功。

This article employs a comparative approach to analyze the views on poetry held by both Akio Yamamoto 山本章夫 (1827-1903) in ＂Zhounan＂ and ＂Shaonan＂ 二〈南〉 and Zhu Xi 朱熹(1130-1200). Considering that within academia, related research, such as Yue Yanhong's 岳雁虹 Research on Akio Yamamoto's Shikyō Shinchū 山本章夫《詩經新註》研究 and ＂An Introduction to Akio Yamamoto's Shikyō Shinchū＂山本章夫《詩經新註》簡介, has yet to touch upon this area of research, the author believes the subject is worth our attention. In order to investigate the similarities and differences between the two, this article through statistical, inductive, and other approaches first highlights the teachings of Mao Heng 毛亨, Zheng Xuan 鄭玄, Kong Yingda 孔穎達, and Zhu Xi, and subsequently compares them to Yamamoto's. Specifically, by analyzing similar discourse utilized by both Chinese and Japanese writers as well as looking at how these discourses compare across different eras, one is able to discern the significance of ＂Zhounan＂ and ＂Shaonan＂ within the development of historical studies on Shijing 詩經 during the Meiji era. The author has discovered that Akio Yamamoto believed the ＂nan＂ 南 (south) of ＂Zhounan＂ and ＂Shaonan＂ implied that the civilizing 化 of King Wen 文王 moved from northwest to south. Although this statement is more detailed than Zhu Xi's ＂from north to south,＂ Yamamoto has ineludibly been criticized of holding ＂fallacious opinions of Han scholars.＂ Citations of Zhu Xi's own annotations comprise more than half of both ＂Zhounan＂ and ＂Shaonan,＂ and thus, Zhu Xi served as the basis for his views on poetry. However, Yamamoto's interpretation of ＂Zhounan＂ and ＂Shaonan＂ differs from those of his predecessors-both Chinese and Japanese, of which could be said to be a unique characteristic of the work. Despite using qing 情 (emotion) of poets to rewrite three hundred poems, Akio Yamamoto's rewriting of ＂Zhounan＂ and ＂Shaonan＂ did not utilize qing. However, while portraying expressions of female emotion, he expressed a literary appreciation and an emotion of poets, both of which were valued by literary scholars of the Meiji era. In this way, Shikyō shinchū within historical studies on Shijing in Japan, was able to further the achievements of Zhu Xi.