由芥川龍之介的漢詩觀察他對中國的憧憬──以中國旅遊前後之漢詩為主

From Akutagawa Ryunosuke's Chinese Poetry to his Longing for China: A study on Akutagawa's Chinese Poetry composed around his trip to China

井芥川龍之介除了是小說家之外，還是一位漢學家、創作漢詩卻鮮為人知，芥川的老師夏目漱石漢詩才華廣為人知，留下208首漢詩集成漢詩集；而芥川之漢詩或許是因為僅只附在給友人的信札中、受朋友之託題於畫作上，數量也不多之故，芥川漢詩的研究僅局限於少數研究學者。芥川小說研究數量頗多，而漢詩方面僅有村田秀明、小室善弘、中國的邱雅芬、台灣的彭春陽等學者，這些芥川漢詩研究中，以日本文學研究之外同時在中國文學漢詩方面造詣也頗深的邱雅芬所做的研究最為完整，她整理出現有的34首芥川漢詩，將之分類成第一期：1912~1915年（第一高校在學時起至《羅生門》創作時期）、第二期：1917~1919年（作家地位穩固，忙於撰稿時期）、第三期：（前期至中國旅行1920年前的短暫時期）、第四期：中國旅行之後的一長段時期。四期當中，第三期時期雖短，創作作品卻達13首，占整體的近百分之四十，而時期最久的第四期的創作數量僅只4首，占百分之十二弱，這個統計意義頗深。本稿根據邱雅芬之分類，以中國旅遊前的第三期及之後的第四期所創作之漢詩為研究素材，探討芥川之文人嗜好（繪畫）或對其他中國文化所持的關心、檢視其心境之改變，進而詮釋芥川之藝術觀。

Akutagawa Ryunosuke is not only a writer, but also a classical Chinese scholar, yet his Chinese poetry is little known. Akutagawa's teacher, Natsume Soseki is well known for his flare in Chinese poetry, having composed 208 poems that was collected and published. In contrast, Akutagawa's Chinese poems are small in number, and only included in his letters to friends or written on paintings, thus few in the academic field focus on the study of Akutawa's Chinese poetry. The amount of research conducted on Akutagawa's short stories is vast, yet only a few scholars, including Murata Hideaki, Komuro Yoshihiro, Qiu Ya-Fen (China), and Peng Chun-yang (Taiwan), focus their research on Akutagawa's Chinese poetry. Among them, Qiu Ya-Fen, with her attainments in both Japanese and Chinese literature, has conducted the most thorough study. She organized Akutagawa's 34 Chinese poems into First Period: 1912~1915 (First High School to “Rashomon”), Second Period: 1917~1919 (the period Akutagawa solidifies his status as a writer), Third Period: (a short period before his trip to China), and the Fourth Period: a long time after his trip to China. The Third Period is the shortest among these four, yet Akutagawa composed 13 Chinese poems in this time, which is almost 40% of the Chinese poems he composed. In contrast, he only wrote 4 poems during the longest period (the Fourth), which accounts to less than 12% of his Chinese poems. This a very significant statistical difference. In this paper, the writer would focus on Akutagawa's Third and Fourth Period poems (according to Qiu Ya-Fen's category), to discuss Akutagawa's literati interests (paintings) and his interests in China culture, examine his change of heart, and try to explain Akutagawa's artistic views.