Goyama literature is an important stage in the history of the development of Japanese Chinese poetry, and its Han poetry creation is dominated by the Group of Zen monks of the "Five Mountains and Ten Brakes" in the Kamakura Muromachi period. The Wushan Han poetry with the poets and monks as the main creative group is mostly related to the late Tang Dynasty poetry that advocated "bitter chanting" and worked on the refining of sentences, especially with the social turmoil and the decline of the Zen forest in the late Five Mountains, the mood of the poets and monks was also in line with the decline and habits of the late Tang dynasty poetry. Jingxu Zhoulin (1440-1518), known as Yizhu and Banyin, was a native of Omi (Shiga Prefecture) and wrote the Seventeen Volumes of the Hanlin Gourd Collection. Uemura's evaluation of its collection is comparable to the "Empty Collection" of Yoshido Shushin (1325-1388) in terms of the richness of historical materials, and in terms of literature, it is regarded as a representative work of Wushan literature after civilization (1469-1486) along with the "Jinghua Collection" of Yokogawa Keiso (1429-1493) (Uemura Tourism's "Hanlin Hulu Collection and Solution").
Jing Xu's contact with the poetry of the late Tang Dynasty first came to the "Tang Three-Body Poem" compiled by Zhou Bi of the Southern Song Dynasty and mainly included the poems of the late Tang Dynasty. He recalls learning poetry from the tangzhong material when he was a child: "The little boy was five years old and was raised by his predecessors. ...... Teach Liang Qianziwen, Tang Santi poems and empty monks to recite them, and forget a word to give a punch. ("In February of the eighteenth year of civilization, he lived in Jingdesi Temple" and "Incense") This kind of recitation of the "Three-Body Poem" had a profound influence on Jingxu's later creations. The fresh and distant, Xiao Chang and beautiful late Tang Dynasty laws and absolutes in the "Three-Body Poem" are especially favored by him, and the poetic style he summarizes as "quiet and plain" ("After the Hundred Poems of the Servant of Yu Cen Zhen of The Eastern Mountains" and "Pure and lovely, tired and beautiful like a pearl" ("The Light Chamber Character Inscription is Orderly"). This is often reflected in the Jingxu collection, and his poems use such verses as the late Tang Dynasty in many places. For example, "The bells of the ancient temple of the Southern Dynasty are far away, and the Xiaomeng Shang is still confused about the smoke and rain building" ("The Spring Temple of the Plain Face"), naihua uses the famous sentence of Du Mu's "Jiangnan Spring": "Four hundred and eighty temples in the southern dynasty, how many buildings are in the smoke and rain"; "See the maple is far from the cold mountain, and the Junjia family is close to the return." Parking here is silent, and the wind blows the red leaves in the pine" ("Fenglin Parking"), which corresponds to Du Mu's "Mountain Walk"; "Xiao Feng enters the Dream Fengtian Temple, the Night Heart of the Broken Moon Chang Geng" ("Sending the Monk into the Great Ming Kingdom"), which is a clever use of Li Shangyin's "Chang'e", "The Long River Gradually Sets Down and the Stars Sink" and "The Blue Sea And the Blue Sky Night Heart" expresses his thoughts for his friends. There are also several poems in the collection, which are extremely imitative of Zhao Gao's "A few points of the remnant star are blocked by geese, and the flute is a man leaning on the building" ("Late Autumn of Chang'an"). For example, "the remnant star counts the old people, a faction of the fifth bridge of the galaxy" ("After the Star Sunset Meets the Dead"), "Yushu a person leans on the building, Zhang Concubine wakes up with a bun and sorrow" ("Yushu Backyard Flower" three songs, "The remnant star counts the wild geese horizontally, and asks the king first" ("Feng Zhi Daming zheng makes the great monk of the clouds") and so on. In "Five Pieces of the Second Rhymer", Jing Xu Zhoulin directly described the late Tang poems with "residual stars counting points": "The old things are folded, and the residual stars count the late Tang poems." On the one hand, the poet is deeply saddened by the depression of the Zen Forest, on the other hand, it also outlines the picture of the poetry of the late Tang Dynasty in his heart- as depicted in "Counting The Stars of the Remnants", which is quiet and distant and does not hide the color of the decay.
Therefore, Jing Xu Zhoulin's Han poetry creation also inherits one of the cold and savage and sharp novelties of the late Tang Dynasty. One of the most striking is his love of the words "cold" and "crippled". Cold, which refers to the coldness of the body and the coldness of the realm, is a major feature of the late Tang monks' poems. Jing Xu has many poems that deal with the "cold" realm, such as "The Furnace Is Red like Fire": "Five more blowing fires rely on the wind furnace, and the cold air peels the bed first and the skin." "The Second Moon River Trial Rhyme": "I don't know the youth of YuQi, Yu Han thinks and poetry is late." "Mei Yi in front of the door": "But the monks snatched the spring away, and the poetry under the moon knocked on the door." Especially the last two poems, it has been clearly revealed that the influence of "suburban cold island thinness" on the creation of Chinese poetry, the dry cold of the poet monk's secluded residence has even taken away the warmth of spring, leaving only the cold silence of knocking on the door under the moon, which can be described as sharp and new. The imagery related to "residual" also appears in a large number of Jingxu poems, including more than 20 kinds of residual nights, residual lamps, residual stars, residual dreams, residual moons, residual rain, etc. The poet even calls himself a "residual monk". "Remnant" is a very timely word, referring to things that will not be exhausted, struggling to exist but will eventually be annihilated, reflecting the poet's cold state of mind and contemplation habits of things, which exists in large quantities in the "late Tang Dynasty" poetry. For example, the poet Li Zhong of the Five Dynasties regarded "a thousand miles of dreams are lost in the old business, and an anvil pestle in a city is pounding the remnants of autumn" ("Haicheng Autumn Sunset Sends Nostalgia to the Brother"), "A thousand miles of dreams with the broken moon, a cicada sends early autumn" ("Engaging in Autumn Books on the Sea") as his most proud verses. Jing Xu's preference for "residual elephants" shows that he deliberately creates a kind of cold and strange mood and melancholy that he enjoys, which is not only in line with his contemporary situation and identity as a poet and monk, but also related to his conscious capitalization of the "late Tang Dynasty".
In addition, Jing Xu Zhoulin's acceptance of the late Tang Dynasty poetry style is also reflected in his emphasis on the spirit of "bitter chanting" and the attitude of refining words and forging sentences. The Song people have said that "bitter chanting does not get rid of late Tang poetry" (Liu Kezhuang's "Self-Encouragement"), "(poetry) to the late Tang Dynasty and work" (Yang Wanli's "Huang Yushi Collection"), has pointed out the late Tang Poets in the bitter chanting of the wonderful creative characteristics. Jing Xu Zhoulin also did not hide his imitation of this gesture, such as his "Lonely Yin": "The heart of the outer piece of heaven can be discussed in detail, turn around and clap the knee at dusk", the concentration of writing poems and the excitement of getting sentences; "Qingyun does not live up to the old people's covenant, there are still knocking on the door to find a sentence monk" ("Open the window Yiyue"), "Can travel under the moon to deliberate the boundary, do not throw the world's mound" ("Answer Yunying"), is to use the classic of Jia Island's "deliberation" to create a clean and elegant taste of poetry. In Jing Xu's view, "bitter chanting" is not composing poetry in a painful and poor situation, but refers to the hard work of searching for sentences in the writing process, which is a state of immersion in "I" and nature, meditation and deliberation, so his use of the "moon under the moon" classic is more to flaunt the concentration and self-satisfaction when composing poetry, rather than to take the hook chapter thorn sentence as the ultimate poetic ideal. In writing the preface to the anthology of Yanlong Zhou Xing (1458-1491), he said: "The former Yu King Hengchuan (according to the Song monk Yokogawa Ruju), who sang to remove the evils of carving, single-mindedly revived the ancient style, and regarded the old hook chapters and thorn sentences at the end of the Song Dynasty and the flowers and flowers as the next heaven. (Preface to the Collection of Semi-Pottery Texts) "The Elders of the Late Song Dynasty" refers to the "Four Spirits" and the Jianghu Poetry School, which imitated the "Late Tang Dynasty". Jing Xu believes that although they copied the late Tang Dynasty, they did their best to carve and paint algae, and lost the fresh nature and elegance of poetry. This in turn reflects his estrangement from the "late Tang Dynasty".
In summary, it can be seen that Jing Xu Zhoulin's understanding of the poetic style of the late Tang Dynasty is multi-dimensional and selective, and presented in his creative practice, it is a kind of acceptance concept of striving to "compromise": it is not only admiring the fresh and fluent poetic style of the late Tang Dynasty, but also difficult to get rid of the cold and astringent tendency brought about by the identity of the poet and monk; not only attaches importance to bitter chanting and refining words, but also strives to avoid the traces of poetry, and pursues the poetic ideal of "pure and lovely" and "poetry is fresher for the poor".
However, limited by identity and era, the contradiction between ideals and creative practices is sometimes irreconcilable. Jing Xu Zhoulin's works that write about the image of cold cruelty and have the monk's poem "Vegetable Shoot Qi" are not all "pure and lovely", so he shows a very contradictory attitude towards "suburban cold island thinness" and presents it with a kind of "self-deprecating" anxiety. The above-quoted "deliberation under the moon" is Jing Xu's appreciation of Jia Dao's poetry Yaxing, but in another poem, Jia Dao became a ridiculed sour cold man: "Laughing acid cold Jia Yin Buddha, every year except for the night to worship the god of poetry." ("Poetry has divine help") Then the same "bitter groan" himself has also become the object of ridicule: "Xiao Li is close to the flower body into the painting, and the column is thin and thin as a poet monk." ("The Shadow of the Moon Shifting Flowers") "But the monks snatched the spring away, and the poems under the moon knocked on the door. This self-deprecation has almost become the anxiety of the contemporaries who "shared" it. For example, Jingxu's master, Yokokawa Jingsan, mocked his own poem "Cold": "The temple has fading monks' poems that are even colder" ("Xisi Temple Yu Han"), "My Poems Are Cold Although Summer is Cold" ("Ciyun Wei XianZang Lord"), "Cold in Dongye is My Poem" ("Fan Mian Mengjiao Look at flowers"). Jia Dao was also ridiculed in his pen: "Use up the golden disciples to cast statues, Tang Cheng yin Buddha Song Shi nu." ("Jia Dao Buddha") "Yin Buddha" Jia Dao in front of the Song people's elegance, more like a sour and cold "shinu", this gap is not small. At about the same time, Xi Shi Lingyan (1403-1488) also criticized the chill of late Tang poetry for being difficult to continue Li Du's "flame of light": "The side of the donkey is extinguished, and the place where it is not transmitted is colder than ash." ("Poetry Lamp") But his creation also has such as "there is no small warmth in the furnace of the fire, and there is a residual light on the wall of the loose star" ("The Work of the Waiter of the Second Rhyme Cluster").
Further, the premise of "self-deprecation" is to admit that there is a "similar" side, but it is not the ideal appearance of the poet, because there are better imitators, so it creates an "anxiety". This more ideal object of imitation is the Poets of the Song Dynasty represented by Su Shi and Huang Tingjian. Since the end of Kamakura, the poems of Su and Huang have become almost popular in the Wushan poetry circles: "The disciples of the jungle, brother Yutang and brother Yuzhang, rule as if they were ruling the scriptures, and the commentaries are complex, and they are full of Dongyu." (Itō Dongya's "Preface to dulu's Poems") The monks who have befriended Jing Xu Zhoulin also have many commentators on Su and Huang. Influenced by this atmosphere, Jing Xu admired the elegant Song style, and he commented that Su Shi was "a hand-held poet singing Confucianism, and the Song Dynasty only had two Sus in the second hundred years." ("Poetry to Ah Hu") commented that Huang Tingjian was the "second Dharma" after Tao Yuanming: "Who knows the first Dharma Essence, pay Jiangxi Lu Zhi poems." ("The Work of the Old Man Da Mo Jie Of The Rhymes again") and "Hanlin Hulu Collection" also has many works to write about the idleness of daily life, and the style is rushing and idle. This also explains why Jing Xu Zhoulin regards "quiet and plain" and "absolutely lovely" as a poetic pursuit, and why he prefers the fresh and distant poetry of the late Tang Dynasty, in addition to its Zen background, the influence of "Song Tone" cannot be ignored. However, Su Shi's horizontal and transcendent, the valley's learning and wealth, and Lao Du's depression and frustration are as difficult to step forward, in contrast, the exercise and stability of late Tang poetry means that there are traces to follow, which can be used as a doorway and traced upwards; and its freshness and remoteness can also be combined with Zen life, in line with its environment and state of mind, at this time, "late Tang" has become the poetic style choice under the "forced" poets.
In short, represented by Jing Xu Zhoulin, the late Wushan poetry circle's acceptance of the late Tang Dynasty poetry style is complex and multi-faceted, mu qi is smooth and graceful, the refining work is stable, the sharp is novel, but it is also troubled by the inability to get rid of the dry and cold poetic style. On the one hand, this is due to the fact that late Tang poetry itself is a diversified object of emulation, on the other hand, it is also related to the identity of Jing Xu Zhoulin and the influence of the "Song Tune" of the Five Mountains Poetry, which reflects the influence and flow of Tang poetry in the practice of Japanese Han poetry creation, and in a sense, it also opens up the "Tang and Song Poetry Controversy" that was huge in the later Edo period.
(Author: Liu Xiao, Postdoctoral Fellow, School of Humanities, Shanghai Normal University)