汪元量の「湖洲歌」九十八首について

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  • On 98 songs of Hu-chou Ko by Wang Yuan-liang
  • オウゲンリョウ ノ コシュウカ 98シュ ニ ツイテ

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98 songs of Hu-chou Ko 湖州歌九十八首 by Wang Yüan-liang 汪元量, a poet at the end of Southern Sung, is a series of songs describing the journey to the north the royal family of the Sung underwent. In general, a series of poems in classical Chinese literature is just an assembly of several songs on the same subject, and there is no relationship of each to the other apart from the subject. Hu-chou Ko, in contrast, is arranged such that each of the songs constitutes a narrative context. This paper divides Hu-chou Ko into 8 paragraphs by the geographical location where the party stopped on their way northward, and points out several features of each paragraph and analyses each paragraph's story line. Since Wang had lived in the era of dynastic change and experienced personally the journey to north accompanying the royal family of Sung, most of the studies have estimated him to be an loyalist of a ruined court, and assumed his poems to be a kind of documentary, or in other words, to be a Shi-shi 詩史. Hu-chou Ko, in the same way, has been regarded as the personal experience of his journey made into song and later compiled after his arrival at Ta-tu 大都, the capital of Yüan dynasty. However, this view is unsound for following 3 reasons: First, not all historical events written in this series is based on his experience; some of them are based on hearsay or imagination. Second, Hu-chou Ko is not a simple assembly of songs, as it is arranged consciously to make its narrative line more dramatic. Third, characters in this series, especially women such as the empress or her abigail, are likewise dramatized by the poet. Hu-chou Ko is a documentary rathar than a fiction, so how should we redefine Hu-chou Ko? Viewed in the light of its title and its oral narrative, these songs appear to be modelled on 10 Chüeh-chü of K'uei-chou Ko 夔州歌十絶句 by Du Fu 杜甫. K'uei-chou Ko is closely related to ballad and therefore Hu-chou Ko inherits characteristics of the ballad, too. The number of songs was 98, which is an odd number, and from this perspective it seems quite probable that this series originally was comprised of 100 songs and lost 2 were later lost for some reason. In that case, Wang could be seen as attempting to follow The 100 Court poems 宮詞一百首 by Hua-jui Fu-jen 花蘂夫人 at some unconscious level, as Hua-jui is an empress of the Hou-shu 後蜀 dynasty which was destroyed by Sung. The theme of Hu-chou Ko is 'a tragedy of ruined empresses'. The tragic biography of Hua-jui would overlap with the theme of Wang's songs and make its theme more impressive. In addition, we should note that it was the modern historic event at that time that the northward journey told in Hu-chou Ko is. There are few cases in classical Chinese poetry that describe historic events contemporary with the poet himself. For the above three reasons, Hu-chou Ko could be redefined as an adaptation of modern history into an epic that could actually be sung.

収録刊行物

  • 中國文學報

    中國文學報 67 58-99, 2004-04

    京都大學文學部中國語學中國文學硏究室內中國文學會

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