愛花詩人村瀨栲亭：以江戶漢詩的日本化為中心

Flower-lover Murase Koutei: Japanized Chinese poetry

村瀨栲亭是江戶時期後期儒者，名之熙，字君績，號栲亭。京都人，大概生於延享元年（一七四四），卒於文政元年（一八一八），享年七十五歲，以博學多聞著稱， 《藝苑日涉》十二卷是江戶後期學者首屈一指的考證隨筆，例如：與對江戶詩風轉變影響深遠的山本北山與栲亭關係也很密切，在《藝苑日涉》序中評論道：栲亭源先生學以經綸為本色，……日日遊涉藝苑，通古今極宇宙。旁善文善詩，善書畫，善音律，優受人間之清樂。善書畫，工草書，與上田秋成為知交，愛煎茶，是寬政年間（一七八九～一八○一）日本代表性的文人。與當時大力提倡新詩風的京都詩僧六如經常有詩作唱酬，也為六如出版的詩集寫序，其中可清楚窺見栲亭也是主張去除徂徠末流的偽唐詩，他在〈六如菴詩鈔後編序〉認為「今以詩文自命者，身外求心，境外求情。詩者情之苗也，情循境生，離境而求情，皆狂妄耳矣」，亦即詩情與詩境息息相關，情不可離境。此一寫作理想與規範如何反映在栲亭自身的作品中？又形成何種詩風？以下試舉栲亭詠「燕子花」、「褔壽草」、「獨活」、「採葷」等詩作為例，透過中日詩歌比較的視點與方法，抽絲剝繭，檢討分析栲亭作品，希望釐清其詩風特色與重要性。

Murase Koutei aged 75 from Enkyo Yr 1 (1744) to Bunsei Yr 1 (1818) born in Kyoto as a famous Confucian in the late Edo Period issued Geiennissyou vol.1-12 as known as the second-to-none notes on textual research back then. Also, he had close relations with Yamamoto Hokuzan impacting the style of Edo poetry that described him as follows: Koutei having learnt the classics, arts and many other fields is good at essays and poetry, paintings and notes and therefore enjoys his life with pleasure. He fond of Sencha (tea) and good at painting and calligraphy as a close friend of Ueda Akinari was one of the representative literati in Japan in Kansei Era (1789-1801). He created his works along with Rikunyo, a Kyoto monk poet initiating a new poetic style and therefore sent a preface to Rikunyo's collection that expressed his assertion against Sorai, pseudo-Tang poetry. From Rikunyoansisyou (a preface to Rikunyo's collection), he stated ”those regarding themselves as poets are in pursuit of hearts and sentiments outside bodies and circumstances, respectively”, and ”poems are buds of sentiments that are born from circumstances and therefore those in pursuit of sentiments outside circumstances are arrogant”. To sum up, sentiments and circumstances are interdependent. How did Koutei reflect his ideal and norm in his works? What kind of style did he form? The researcher attempts to clarify the characteristics and importance of the poetic style in Koutei's works such as Kakitsubata, Fukuzyusou, Udo and Matutake through the comparison between poetry and lyrics in China and Japan.