社甫「詠懷古跡五首」之三 : 「王昭君」像の形成と白居易の繼承

Abstract

Du Fu 杜甫, a poet of the Grand Tang period, wrote his "Yong Huai Gu Ji Wu Shou Shi 詠懷古跡五首" in 766 (Da li 1 大曆元年) at the age of fifty-five. This series of five poems take its subject matter from ancient relics that had been scattered in the Three Gorges 三峽, the upper reaches of the Chang Jiang 長江, and from the temple of Zhuge Kongming 諸葛孔明廟. In this paper, I would like to present my view on the third poem of the series. The precise date of the poems' production remains uncertain: Du Fu dwelt at that time in Kuizhou 夔州, Fengjie County 奉●縣, Sichuan Province 四川省. By featuring the relic of Zhaojun Village 昭君村, the third poem deals with the tragic life of Wang Zhaojun 王昭君, a woman of the imperial harem, who was married to a ruler of the Xiongnu 匈奴 in the period of Early Han Dynasty. I pay close attention to Du Fu's use of poetic diction and representations such as "Ming Fei 明妃, " "bird messenger of Fairy God-mother 靑鳥, " "the soul of moonlight 月夜魂, " and "sing the story in a foreign language with a Chinese lute 琵琶作胡語." My special focus is also on his employment of a style that marks a significant divergence from the tradition of pre-Tang folk songs and ballads 樂府詩 developed around the image of Wang Zhaojun -- the form of seven-character lü shi, characteristic of modern style. In my view, Du Fu's works played a catalytic role in the expanding development from the prevalent pre-Tang style into the modern style; this new tradition was succeeded, among others, by Bai Juyi 白居易.