《禪宗頌古聯珠通集》頌古詩中的「漁歌」寓意與「歌」的喻指

The Implications of the“Fisherman’s Song”and the Metaphor of“Song”in the Collection of Odes to Ancient Zen Lianzhu Koans

《禪宗頌古聯珠通集》是現存最早的頌古總集，保存了兩宋禪師頌古創作的傑出成果，其中有以「漁歌」此一辭彙入詩的作品數首，為數雖然不多，卻非偶然的創作現象，而是有其承自中國文學傳統之道家式「漁父」形象與唐代以張志和〈漁父詞〉、船子和尚《撥棹歌》為代表的文學傳統。唐人詩歌裡的「漁歌」意象已具有特殊意涵，而宋代禪林的頌古，因是有對於公案內容的創作，不同禪師化用「漁歌」入詩，形成層次更為豐富多元的具體指涉，且與其他「歌」喻有別，從而使「漁歌」成為禪林特有的法說象徵。

The Collection of Odes to Ancient Zen Lianzhu Koans is the earliest extant anthology that preserves the outstanding creative achievements of Zen masters from the Song dynasty. Among the odes in the text, there are several that mention the term“fisherman’s song”in their verses. Although the number of odes that use this term is small, it was not an accidental phenomenon, but rather represented the continuation of a Taoist-style“fisherman”image derived from the Chinese literary tradition, and found in works such as Zhang Zhihe’s“Fisherman’s Songs”from the Tang dynasty and the monk Chuanzi’s“Rowing Songs.”The imagery of the“fisherman’s song”in Tang dynasty poetry already had special associations, but Zen odes from the Song dynasty expanded these associations in their creation of koan content. Different Zen masters used“fisherman’s songs”in their poems, forming richer and more diverse levels of specific reference. They are different from other“song”metaphors, making“fisherman’s songs”a unique symbol of the Dharma in the Zen forest.