峴山の涙 : 羊祜「墮涙碑」の繼承

Abstract

Though the stories of Jing Gong 景公 of the Qi 齊 weeping atop Mt. Niu 牛山 and Yang Hu 羊祜 of the Western Jin 西晉 weeping atop Mt. Xian 峴山 are similar in structure, they also differ in fundeamental ways. These differences serve to illustrate a transformation from ancient to medieval mentalities. Jing Gong's ascent is in keeping with the ancient incantatory practice of a ruler blessing his dominion; Yang Hu's tends more toward a medieval appreciation of natural beauty. In the former story Jing Gong's fear of death is ridiculed by a laughing Anzi 晏子; Yang Hu's narrative accords the transience of life with a sentimental lyricism without any counterpoint. During the Six Dynasties there was a proliferation of the Yang Hu-inspired banquets at which paticipants mourned the evanescence of life. It continued into the Tang, though increasingly the emphasis shifted away from grief focused upon the limitations of an individual's life span and toward a broader concept of death as a shered fate among men of all ages. During the Song Dynasty Yang Hu still received high marks as a statesman, but his lamentation of death lost its appeal, because of the growing popularity of new life-affirming ideas.