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題名 | 松尾芭蕉俳號與中國古典文學及佛典的關係=On the Connotation of Basho--An Exploration into Matsuo's Preference for Basho as Pen Name |
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作者 | 戴玉珍; | 書刊名 | 聯大學報 |
卷期 | 2 民94.12 |
頁次 | 頁222-233 |
分類號 | 861.523 |
關鍵詞 | 芭蕉; 俳句; 禪宗; 無常; 物哀; Basho; Plantain; Haiku; The Zen; Transience of life; Sadness; |
語文 | 中文(Chinese) |
中文摘要 | 作為中、日古典比較文學研究,中國古典文學分言志與抒情兩大主軸;而日本文學則偏重言情物哀的文學主張。 俳句,可說是日本文學的精神核心,也是抒情詩的究極,而松尾芭蕉列為俳句第一人屬,應是毫無疑問的。 俳號「芭蕉」的松尾宗房,為何獨衷芭蕉?芭蕉的植物屬性是莖脆、葉大,容易招風邀雨,相對地也易遭折損破敗,且一旦結果隨即死亡。它在中國古典文學詩、詞、曲的心象投影(projection )與佛經典籍的視點(point of view )也各有裁剪;前者由情感思維,後者從理性析出。檢視俳人芭蕉的漢學素養浸淫頗深,中國古典詩文的緣影,不時在文字中浮沉顯影。而幽寂、閑愁、與臨窗的落雨映像,正是中國古典文學裡芭蕉出典的場景,不時與俳人的內心相互呼應。再則,由於受到禪學的潛默浸潤,因此,佛經典籍中人生無常的基調自是對其影響頗深才對。佛典中芭蕉的象徴是:無常、脆弱,譬喻眾生身不永固。在俳人漂泊如旅的行腳中,便常懷持人生如風雲月露、幻化易逝之歎,與佛經中的芭蕉印記又是相容的。 總此,俳人松尾宗房,歷經多次俳號更迭,最後止於「芭蕉」,並以此名號傳於後世,應不僅只緣於一棵弟子李下所送的芭蕉樹而已,其中內蘊的各種生活美學與人生觀想應頗值得一探。 |
英文摘要 | Haiku, the refined Japanese poetic form, is the spiritual core of Japanese literature. Matsuo Basho was the first and most prominent writer of Haiku. In his career he used several pen names, but finally he chose Basho as his pen name. This article investigates why Matsuo Mone Fusa preferred Basho (plantain, a wild plant with broad leaves, crisp stem and a head of tiny green flowers on a long stem) as his pen name. In classical Chinese literature, Basho symbolizes the writer’s tranquil, solitary, peaceful and somewhat sad state of mind. Viewed from the Zen perspective, Basho represents unpredictable, transient and fragile life. In Matsuo’s magnificent Haiku, Basho reveals his state of mind and his view of life, having two symbolic meanings that can be found in both classical Chinese and the Zen literature. Therefore, he preferred to use Basho as his pen name and since then he was known as Matsuo Basho instead of his real name. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。