うたげのうた

Abstract

It has been said that description of scenery for its own sake, not for symbolizing or allegorical purpose, started with gongyan shi 公讌詩 of Jian-an 建安. Indeed there is no allegorical intention here, but the poem does not describe natural scenery. It praises things artificially arranged in order to create a festive atmosphere. The guests' imagination work upon the non-realistic, praising the host with a prayer for his long life, and wishing for the perpetuation of the present delight. While the guests sing of joy, the host's poem is sorrowful about the transient nature of this elation, and of life as well. There is a clear contrast between their attitudes. It may be something of a ritualistic reply scheme of life, which reflection gives additional depth to it. This contrast between the host and the guests can also be observed in Jingu ji xu 金谷集序 by Shi Chong 石崇 of West Jin 西晋, and Lanting xu 蘭亭序 by Wang Xizhi 王羲之 of East Jin 東晋, too, though here the contrast may not be as clear, shows the host, Wang Xizhi, lamenting the brevity of life. The tradition of expressing sadness in the midst of a banquet continues up to Li Bai's 李白 Chunye Taoliyuan Xu 春夜桃李園序. This pattern, however, shows a new development in Du Fu 杜甫. Jiuri Lantian Cuishi Zhuang 九日藍田崔氏莊, though retaining the traditional pattern of being sorrowful at a Chongyang 重陽 banquet, expresses a lyricism which is anything but conventional, a lyricism generated by a particular individual in particular circumstances. Here is a transition from literary convention to personal lyricism. Later in Su Shi's 蘇軾 Chibi Fu 赤壁賦 one finds a new philosophy, expressive of a positive attitude towards life, as develops into new phases, while continuing its long history.