japanjournalЯпонские исследованияJapanese Studies in Russia2500-2872Association of Japanologists; Institute of China and Modern Asia of the Russian Academy of Sciences10.55105/2500-2872-2022-4-20-37japanjournal-308Research ArticleСтатьиПоэзия Фудзивара Сэйка на литературном китайском языке и его место в истории литературы на камбуне раннего нового времениThe Sinitic poetry of Fujiwara Seika and his place in the history of early modern kanbun literaturehttps://orcid.org/0000-0003-3874-5916СковоронскихМ. В.SkovoronskikhM. V.

Михаил Владимирович Сковоронских, аспирант и преподаватель 

1350 20th St., Boulder CO, 80302

Skovoronskikh Mikhail V., PhD candidate and part-time instructor

1350 20th St., Boulder CO, 80302

mikhail.skovoronskikh@colorado.eduКолорадский университет в БоулдереСоединённые Штаты АмерикиUniversity of ColoradoUnited States202205012023042037Copyright © Сковоронских М.В., 20232023Сковоронских М.В.Skovoronskikh M.V.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.japanjournal.ru/jour/article/view/308

Исследователи часто обращаются к фигуре Фудзивара Сэйка (藤原惺窩, 1561–1619) как одного из основателей неоконфуцианской традиции в Японии. Однако его объёмное литературное наследие, включающее в себя тексты как на литературном китайском (яп. 漢文 камбун), так и на собственно японском языке, остаётся практически не изученным. Как и большинство его образованных современников, Сэйка прекрасно владел камбуном и оставил значительное количество стихотворений на этом языке (яп. 漢詩 канси), но те немногие учёные, которые высказывались по поводу этих работ, сходятся в довольно критической оценке его литературных способностей. Согласно их мнению, канси Фудзивара Сэйка страдают от ряда серьёзных изъянов, таких как отсутствие оригинальности и вторичность в языке, обезличенный тон и неумение успешно работать с японским поэтическим материалом.

Это исследование обращается к выборке канси Фудзивара Сэйка и ставит под сомнение подобные оценки. Оно начинается с разбора мнения учёных относительно поэзии Сэйка, переходит к изучению поэтических особенностей его канси, уделяя особое внимание их языку, тону и использованию японского поэтического материала, и в заключение кратко раскрывает суть того идеала, который Сэйка называл «живой поэзией» (яп. 活句 какку). Исследование доказывает, что этот далеко не «плохой» поэт был способен создавать необычные и личные стихи с эклектичным содержанием на том этапе развития литературы на камбуне, который нередко ассоциируют с безыскусностью, литературной имитацией, и раболепием перед китайской традицией. Таким образом, оно ставит под сомнение укоренившиеся в научных кругах представления о месте Фудзивара Сэйка (а также и других поэтов начала эпохи Токугава) в истории японской литературы и подчёркивает важность изучения корпуса текстов на камбуне на уровне, не уступающем ожидаемому от исследований японоязычного канона.

Fujiwara Seika (藤原惺窩, 1561–1619) has often attracted scholarly attention as one of the founders of Neo-Confucianism in Japan. Yet his substantial literary oeuvre, which includes works in both literary Sinitic (Jp. kanbun 漢文) and Japanese, remains largely unexplored. Just like most of his educated contemporaries, Seika was well-versed in kanbun composition and left us with a considerable number of Sinitic poems (Jp. 漢詩 kanshi), but the few modern scholars who have commented on his verse have been quite critical in their evaluation of his poetic prowess. According to such scholars, Seika’s kanshi suffer from several serious defects, including a derivative and uninventive diction, a lack of individuality, and an inability to fruitfully engage with indigenous poetic material.

This study turns to a selection of Fujiwara Seika’s Sinitic poems to cast doubt on such claims. It begins by surveying scholarly opinion on Seika’s verse, proceeds to analyze his kanshi poetics by focusing on diction, tone, and the use of Japanese poetic material, and concludes with a brief discussion of Seika’s ideal of “living verse” (Jp. 活句 kakku). The study argues that, far from being a “bad” poet, Seika was capable of producing innovative, personal, and eclectic verse at a stage in the development of kanbun literature often described as one of blandness, literary mimicry, and slavish imitation of Chinese precedent. In so doing, this study challenges conventional scholarly narratives of Fujiwara Seika’s—and, by extension, other early Tokugawa poets’—place in the history of Japanese belles-lettres and points to the importance of treating the kanbun corpus as an academic subject no less serious than the vernacular tradition.

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The authors declare that there are no conflicts of interest present.