【作者】 刘芳亮；

【导师】 高文汉；

【作者基本信息】 山东大学 ， 比较文学与世界文学， 2009， 博士

【摘要】 日本汉诗自其发轫之初便一直积极效仿学习中国诗歌,因为汉诗本就是日本人使用汉语创作的诗歌,虽作于日本本土,然必须时时承学于中国,否则将无法发展下去,这是客观的规律。从时代顺序看,最早的奈良朝时期热衷于学习《文选》诗和初唐诗,其后平安朝时期则效习中唐白居易诗歌,至镰仓·室町时代又汲取宋元诗歌,到了江户时代则广泛学习明代诗歌和清代诗歌。每一个时代各有所宗,各个时代都有特定的诗风,而此诗风又每每取决于学习中国哪个时代、哪个流派的诗歌。就江户汉诗而言,在江户时期的大部分时间里受到明代诗歌的深刻影响,在这种影响之下,江户诗坛先后形成了以荻生徂徕为首的萱园派和以山本北山、江湖诗社为代表的清新性灵派。前者遵从李、王等明七子派的文学复古思潮,缀文则必从秦汉以前古文,作诗则推崇唐诗、明诗;后者批判萱园派拟古剽窃的文学创作,以公安派的性灵说为理论指导,提倡诗歌应当摹写身边现实、抒发真实性情,在不否定唐诗的同时力推宋诗。萱园派和清新性灵派是江户诗坛最具影响力和代表性的诗歌流派,在某种程度上可以说基本反映了江户汉诗的总体发展变化。因此,本文尝试采用实证的方法,以明七子派和公安派文学及其主张在江户诗坛的流传与接受为轴心探讨江户汉诗对明代诗歌的接受情况,揭示其在这两派文学影响下的迁变,在操作上不限于诗论上的单纯比较这一侧面,更从相关中国典籍在日本的传播与翻刻以及由日本人编纂、注释的中国诗文著作等出版物情况来揭清明诗影响下的江户诗坛状况,同时还将结合具体作品探究明代诗歌被接受的心理机制、背后的社会文化因素以及在接受过程中所表现出的与中国的差异等。具体而言,本文内容主要由以下三章构成。第一章作为进入正题的背景准备主要论述了明代诗歌的流变、江户汉诗的演进和特征以及连接明代诗歌与江户汉诗的桥梁——汉籍输入。在叙述明代诗歌的流变时将笔墨重点放在明七子复古派和公安派的文学主张上;而在阐述江户汉诗的演进时按照神田喜一郎三分说阐述江户汉诗在三个阶段的发展状况、诗风及代表诗人,接着指出江户诗坛具有的与以往不同的几个特点,即:诗社的蜂起、总集的编纂、诗话的大量出现、专职诗人的涌现。这些特点与明代诗坛的情况是十分相似的。随后分析了江户汉诗繁盛的五方面原因,即:印刷技术的提高和出版业的发展、德川幕府的文教政策、学问比武功更易出世、前代汉文学的积淀、汉籍的输入。接下来,进一步围绕江户汉诗接受明代诗歌的桥梁——汉籍的输入,特别是江户初期对明代典籍的引进状况展开了详细的调查,发现江户初期引入明代书籍不仅数量可观,而且速度亦往往令人惊叹,这保证了江户诗坛能够及时了较并跟进新近的中国文坛动向。第二章中就明代最具影响力的诗歌流派即明七子复古派在江户诗坛的流播与接受进行了深入探讨。首先从幕初学者的文集及一些文献目录出发调查了江户前期明七子派流播的踪迹,发现几乎在江户时代之始日本国内就对明七子派有所了解,该派的主要诗文集基本上都已传入。接下来围绕在江户诗坛最具影响力、势力遍布全日本的萱园派接受李攀龙、王世贞等明七子派的情况展开研究。其中有一个有趣且相似的现象就是,明七子派在是明代诗歌发展史中持续时间最长且最具影响力的诗歌流派,而萱园派同样也是江户诗坛中持续时间长且最有影响力的诗歌流派,这种相似背后的原因不能不令我们思考。关于萱园派对后七子派的接受,首先就萱园派的创始者荻生徂徕接受李、王复古思想的情况进行了研究。从诗论上看徂徕对李、王推崇备至,两者主张大同小异,无非“文必秦汉,诗必盛唐”,因此重要的不是徂徕诗论内容如何如何,而是揭示其接受李、王等复古思潮背后的深层原因。所以我们从徂徕的学问经历入手进行分析,发现李、王等的古文辞主张深契徂徕自幼形成的重视原语的形式主义和贴近对象本身的事实主义思想,而前者字字句句必据秦汉以前之语的操作手段极大地启发了处于学问转型期的徂徕,使其最终抛弃宋儒之说,直接上溯至六经解明其中奥义以通达寓于其中的作为最高理想的先王之道。六经是上古语言写成的,因此必须熟悉古语,而要熟悉古语仅靠阅读是行不通的,用古语进行诗文创作才是更有效的途径,同时诗文创作又是体察先王之道缘之以设的人情的最佳渠道。然而,这样功利的动机似乎还不足以充分解释徂徕在文学上旺盛的热情,也不能解释其步李、王后尘推崇盛唐诗的缘由,这还需要进一步从其人情论的角度来探讨。徂徕既然允许人情从朱子学道德观的桎梏中完全解脱出来,那么人情一旦释放便会不可避免地喷薄泛滥,这种久被压抑的情感需要强有力的诗歌表现形式,而且情感的表达不能浅露直白、不作修饰,必须雅。风格冲淡闲逸的宋诗显然容纳不了如此大的情感幅度,而只有在表达上高华雄浑、跌宕激昂,形式上又整饬雅丽的盛唐诗正好能满足此要求。因此,李、王等明七子的尊唐诗学无疑正中徂徕下怀而被欣然接受。但是,李、王等提倡文学复古带有强烈的文学批评意识,他们严格区分诗与文、各诗体之间的区别,进而确立规范:而徂徕标举古文辞的根本目的则不同,除了为其经世学服务外,其对盛唐诗的追崇在于借用其宏大的抒情形式来表现解脱的情感。对于徂徕来说,既然在内容上不再受道德节制,那么诗人的注意力应转移到文学表现本身上,如何表现才是最重要的,表现的内容倒在其次。于是,他认为诗歌本质在于词语本身——表现,而不在于词语自身表达的意义——内容。其次,就徂徕以后萱园派在文学上的代表人物服部南郭的拟古创作意识进行了剖析,这主要是在与明七子和徂徕的创作意识的对比过程中展开的。南郭的诗论与徂徕及其祖述的明七子没有什么两样,本身不置得多费笔墨,但是南郭创作的以《塞下曲》、《塞上行》等为代表的大量诗篇基本脱离日本现实环境和生活实际,这与唐诗和明七子派的同题之诗是不同的,后者是以真实的社会生活环境为基础而创作的。从这里,我们发现南郭等徂徕以后的很多萱园派诗人这样做的原因在于他们在严酷而僵化的身份制度下得不到一展其士大夫抱负的机会,而且文人群体还处于一个没有被社会普遍认可的游离状态,在现实世界秩序中找不到应有的归属,因此他们只有托志于诗,以诗歌构筑虚拟的古代世界,在那里重新建立能充分伸张自我,最大程度地满足自我欲望的秩序。明七子派拟古是出于自觉的文学本体意识,欲以雄劲有力的古代文字涤荡理学阴影下的卑靡文风:徂徕拟古是为了掌握古文辞以通达六经奥义;而南郭拟古则是对古文辞本身充满着借助其表征的古代意象的宏大轮廓确立非凡自我的期待。仅仅从诗论的角度探讨萱园派的文学是不够的,于是我们结合具体作品分析了萱园派的创作特点和得失。在诗歌创作上,萱园派取径明七子创作拟古文、拟唐诗,因此在模拟方法上与明七子无甚差别,有的作品确实颇似唐诗,但其弊在于千篇一律,不耐多看。萱园派推崇明七子,造成了江户中期明代诗文大流行的局面,我们详细列出了正德至明和间明人诗文集的出版,其中包括审阅者、校点者、序跋作者等信息。从这些信息我们可以很清楚地发现,大多数出版物均有萱园派参与其中,而且李攀龙、王世贞二人的著作尤其多。接下来我们对与萱园派有密切关系的李攀龙编《唐诗选》的一系列问题进行了探讨,着重分析了这样一部存在严重缺陷的诗歌选本之所以能盛行不衰的原因,最终认为这是多种因素综合作用的结果。但是,萱园派虽一味模仿高华雄浑的唐诗,却缺乏紧密联系近世人现实生活的诗情,在其夸大的情感抒发不断且毫无创意地重复的过程中,精致的内省与观察也被忽视。而且当文人特有的士大夫的矜持和抱负随着汉诗的大众化和文人这一群体的固定化而逐渐消退,盛唐诗风被依赖的心理基础也因之遭到瓦解。于是,自18世纪中叶起,在京都、大阪这些萱园派势力相对较弱的地方对萱园派进行批判的声音不断响起,随后在山本北山等人的打击下萱园派逐渐衰败,拟唐、拟明诗风也从此淡出诗坛。第三章围绕公安派在江户诗坛的流播与接受情况进行了探讨。首先仍先从幕初学者的文集及一些文献目录出发调查了萱园派统治诗坛以前公安派流播的踪迹。江户前期接受公安派文学最著名的例子莫过于僧元政通过陈元赟的介绍积极摄取袁宏道的作品和诗学主张。元政不仅在诗歌创作上仿效袁宏道,在诗论上亦于后者有颇多借鉴。此外,石川丈山、梁田蜕岩对公安派的汲取也是该时段诗坛接受公安派文学的重要表现。公安派性灵说真正被诗坛广泛接受并被用于批判萱园派和明七子派则是在山本北山《作诗志彀》之后。山本北山在《作诗志彀》中极力倡导公安派的性灵说,对明七子派和萱园派展开了猛烈的批判。在该书中,北山大体从两个方面完全继承了公安派性灵说,即:承认诗歌随时代的变迁而发展,不以时代区划来评定诗歌的优劣高下;反对模拟剽窃和拘泥古人的法式格调,强调抒写性灵和眼前实景,提倡自我个性。由于山本北山将性灵说旨趣归纳为清新性灵,因此以北山为起点而形成的与萱园派对立的派别被称为清新性灵派。尽管《作诗志彀》里有几处援引了钱谦益《列朝诗集》之语,但是另有多处直引或暗引的袁宏道之言不见于《列朝诗集》,这说明北山确曾精读过袁宏道的原著,并非肤泛而谈。山本北山择取公安派性灵说固然有纯粹为反对萱园派的功利性目的,但其自始自终地坚持公安派的性灵说以及一系列明确的文学活动表明他选择袁宏道并非是图方便的偶然之举,在整个诗坛亟待变革之际,北山的行为也是形势之所使然。不过,北山本人无意于以诗人自任,其内心深处怀负着立志于经世济民的强烈政治抱负,诗文在他眼里只不过是在精神领域释放自己“士”的政治热情的手段,所以他强调的“目前之景”绝非仅指眼中所见的现实物像,更对应于广阔的社会现实,换言之“目前之景”就是指要关注社会现象的方方面面,这与袁宏道等公安派在现实生活中较为消极避世的态度是不同的。尽管北山《作诗志彀》因过于偏激的言论而招来众多反驳之声,但如果仔细检阅这些反驳书便会发现它们都是围绕北山对徂徕、南郭及李、王等人的具体作品的不当纠谬而展开反击,令其订误,而关于诗的体制、流变等诗歌原论方面的内容则很少言及,这一情况表明天明以后北山所倡导的公安派性灵说受到普遍欢迎,要从正面否定它则变得比较困难。北山之后以市河宽斋为盟主的江湖诗社继续高扬性灵说,并通过一些列卓有成效的文学实践活动使清新性灵之诗风传遍江户诗坛。我们选择了市河宽斋、大洼诗佛、菊池五山等三位在诗论上相对突出的江湖诗社成员,对他们接受公安派的性灵说情况进行了探究。江湖诗社虽然仍遵从性灵说,但在某些地方已与公安派有所差别,而且由于他们对清代袁枚表现出积极的关心,因此诗论上也受到袁枚的影响,这导致他们的一些观点不能截然分清究竟是据公安派的性灵说还是据袁枚的性灵说。清新性灵派接受公安派重视宋诗的主张,推崇宋诗特别是南宋诗,于是天明以后随着萱园派的衰败,宋诗代替唐、明诗渐次成为作诗的典范而流行开来。通过对宋诗流行以来宋诗和刻本的出版情况的调查,我们发现这些和刻本中陆游、杨万里、范成大南宋三大家的作品特别多,而且大多数出版物均与以山本北山及江湖诗社诸子为核心的清新性灵派有关联。为了更清除直观地说明性灵说指导下的清新性灵派的诗歌创作,我们还对其具体诗作进行了深入评析,认为这些诗确实具备宋诗的风格,大多以卑近的日常琐事为题材,迥别于夸大雄放的盛唐诗风。其中的一些诗歌即便模仿宋诗的词语和表现,也不能视为剽窃的“伪宋诗”,因为其内容都是基于真实的生活情景和亲眼所见,而非游荡于虚拟想像的世界。模仿的目的无非是借之在诗中重新发现并确认眼前之景的价值。江户末期诗坛由于清诗的大量舶来以及诗坛的折中化趋势,明诗的整体影响也随之式微,专门提倡公安派性灵说者已很鲜见,诗坛将更多的关注目光由公安派的性灵说转移到后出转精的袁枚的性灵说上。幕末诸诗家对公安派性灵说的态度大多是在批判的同时又认可其中合理因素,可以认为公安派的性灵说通过清新性灵派的推广已经不同程度地内化整合于后期诗人身上。总之,以徂徕为首的萱园派全盘接受李、王等人的复古主张并效法其拟古手段,将诗文从儒学和性理道德的束缚中解脱独立出来。萱园派又始终高度重视文学的表现形式和美学特征,要求格调雅正、音律铿锵、辞藻华美,这不仅大大提高了这一时期日本人的汉诗文素养,而且使诗人在创作过程中发现了文学的本体价值。从这个意义上说,萱园派的拟古文学是日本汉诗发展所必须经历的阶段,尽管其难逭作品脱离实际、千篇一律的指责。其后,山本北山及江湖诗社高举公安派的性灵说严厉批判萱园派剿袭剽窃的诗风,提倡诗歌应当摹写身边现实、抒发真实性情,于是江户后期的诗人们得以品尝在诗歌中重新发现日常生活和眼前景物之后的喜悦,同时在这种诗论的指导下诗人们能够以宋诗为摹本将日本的风土人情和思维情感融纳于汉诗中,从而实现了汉诗的日本化和大众化。要之,萱园派尚修辞,使江户汉诗在语言表现上得到升华,而清新性灵派重实境,使江户汉诗在题材内容上变得更广阔、真实。江户汉诗接受明代诗歌的意义也正在于此。更多还原

【Abstract】 Chinese poetry in Japan, from the time of development, imitate Chinese poems, because they are the ones that Japanese produce by Chinese. It is the rule that though produced by Japanese, the poems cannot develop without following the style of Chinese poems. In accordance with the development of time, in the earliest time of the Nara Period, Japanese poets show great passion of learning poems from Literature Selection or in the early Tang Dynasty; in the Heian Period, Japanese poets learn poems of Bai Juyi who lives in the mid-Tang Dynasty; then, in the era of Kamakura and Muromachi, Japanese poets learn from Song and Yuan Dyansties poetry; they study Ming and Qing Dynasties poetry in the Edo Period. There can be found out its sources and characteristics in every period, which originate from the poems of certain school or period of China. Taking Chinese poetry in the Edo Period for instance, most of the time, poets are influenced greatly by the style of Ming Dyansty poetry. There forms Ken’en School led by Sorai Ogyu and Xingling School represented by Hokuzan Yamamoto and Kouko-shisha under such influence. The former one adapts the thoughts of "back to ancient" from seven poets in the Ming Dynasty, creating literary works obeying the style of works before the Qin and Han Dynasties, and imitating the style of Tang or Ming Dyansty poetry; the latter criticizes Ken’en School, taking the thoughts of nature and spirit of Gong’an School as theory, and thinking that poems should be related with reality and express feelings, advocates Song Dyansty poetry while taking positive viewpoint for Tang Dyansty poetry. These two schools are most representative. To certain extent, it should be said that they basically reflect the development of Chinese poetry in the Edo Period. This dissertation, thus, through the outlook of positivism, focusing upon the influence of thoughts and literary works of Seven-poet School in the Ming Dynasty and Gong’an School on the poetic circles of the Edo Period, discusses Chinese poetry’ acceptance of Ming Dyansty poetry in the Edo Period and reveals its development under the influence of two schools. The dissertation would reveal the situation of the poetic circles through relative Chinese works’ prevalence in Japan and Chinese poems edited by Japanese, rather than limiting itself within the comparison of the theories of poems. It, combined with works, simultaneously reveals the social culture, psychological mechanism of acceptance of Ming Dyansty poetry and the difference in the process of its acceptance from China.This dissertation consists of three chapters.The first chapter, as literature review, mainly discusses the development of Ming Dyansty poetry, the development and feature of Chinese poetry in the the Edo Period, and the input of Chinese works—the connection of Ming Dyansty poetry and Chinese poetry in the Edo Period. In description of development of Ming Dyansty poetry, the dissertation focus on the thoughts of literature of Seven-poet School and Gong’an School in the Ming Dynasty; exposes separately the development, style and representatives of the poems in three stages in accordance with the trichotomy of Kiichirou Kanda; then points out the characteristics of the poetic circles, which include the rise of poem communities, the edition of volumes, the emergence of poems and poets. These characteristics are similar with those of the poetic circles in the Ming Dynasty. The dissertation analyses five reasons for the prosperity of Chinese poetry, which are the improvement of printing and the development of press, the literary policy by the Tokugawa Shogunate, more famous for knowledge, the accumulation of Chinese literature in previous dynasties, and the input of Chinese works. In the following, the dissertation, by studying the input of Chinese works—the connection that Chinese poetry in the Edo Period accept Ming Dyansty poetry, further discusses the input of the works of the Ming Dynasty in early period of Edo Period, finding that the volumes of the works are considerable and the rate of input is shocking. That helps the poetic circles can keep abreast with Chinese literary field.The second chapter deeply discusses the spreading and acceptance of Seven-poet School of the Ming Dynasty—the most influential poem school—in the poetic circles in the Edo Period. The chapter firstly setting foot from the literary works and some literature bibliography makes a study of the prevalence of Seven-poet School of the Ming Dynasty, finding out that almost at the beginning of the Edo Period the school is known around Japan, where the main literary works of the school basically emerge. In the following, the chapter studies the most prevalent school around Japan—Ken’en School’s acceptance of representatives of Seven-poet School, such as Li Panlong and Wang Shizhen. Amongst the study, there is an interesting and similar situation that Seven-poet School is the one lasting longest and being most influential in the development of Ming Dyansty poetry, and Ken’en School also lasts for longest time and is most influential. The reason of this similarity should cause attention.Concerned with the acceptance of Seven-poet School by Ken’en School, the chapter firstly discusses that Sorai Ogyu, the founder of Ken’en School accepts the revival thought of Mr. Li and Mr. Wang. From the view of poem theory, Sorai Ogyu panegyrizes them. Their thoughts are the same, as "prose should follow that of the Qin and Han Dynasty, while poetry should follow those of the Tang Dynasty". Thus it is important to find out the reason of the acceptance of the revival thoughts rather than the poem theory of Sorai Ogyu. The chapter starts from the studying experience of Sorai Ogyu, and finds out the thoughts of literature of Li and Wang are identical with Sorai Ogyu’s thoughts that he emphasizes on the formalism of original language and factualism formed in his early time. The thoughts of the former that the grammar of words and sentence must follow the grammar of language before the Qin or Han Dynasties greatly enlighten Sorai Ogyu who is at the turning point of study, and finally gives up the Confucian thoughts of the Song Dynasty and studies the Six Classics to find out their significance. The Six Classics are written by the primitive language. Literary creation by primitive language is a better way to be familiar with primitive language than reading. And literary creation is the best way to understand the emotion of human being. However, this motivation cannot explain fully the passion of Sorai on literature, nor the reason that he panegyrizes Tang Dyansty poetry. Therefore, it is necessary to explain from the viewpoint of emotion of human being. The emotion of human being, once set out, would unavoidably prevail, since Sorai makes that free from the moral viewpoint of the Zhuzi. This depressive emotion needs strongly expressive form of poems. And this kind of expression should be elegance. The style of comfort and leisure in Song Dyansty poetry cannot hold the emotion. While the elegant expression and elegant form of Tang Dyansty poetry can meet this emotion. The theory of Tang Dyansty poetry canonized by seven poets is accepted cheerfully by Sorai. However, that Seven-poet School advocates revival literature has strong criticism to literature. They strictly distinguish poem, literature, and different styles of poems, and further set the standard; Sorai’s purpose of advocating primitive literature is different. The purpose of canonizing Tang Dyansty poetry lies on that he borrows the lyric form to express the unbounded emotion besides serving for Classics. As for Sorai, poets should focus their attention on the expression of literature itself, since contents are free from morality. The way of expression is most important, while the content give way to that. He thus believes that the nature of poems lies on words themselves—expression, rather than the meaning of words—content.Secondly, the chapter studies the thoughts of imitation of ancient literature creation of Nankaku Hattori, who is the representative of Ken’en School after Sorai. This part will be expounded through contrast of creation thought between the seven poets in the Ming Dynasty and Sorai. Nankaku’s theory of poem creation is the same with Sorai’s and the seven poets’. Though it is unnecessary to study, the creation works by Nankaku, taking poems of Sai XiaQu and Sai Shang Xing as representation, basically independent with practical situation and life in Japan, which is different from Tang Dyansty poetry and Seven-poet School. They create literature based on social reality. From that, we can find out that the reason that many poets of Ken’en School take such thought is they cannot fulfill their political ideal under the strict and rigid system of identity. Besides, literati aren’t still recognized by the society. They can’t find themselves in the order of reality, so they express their ambition in poems, imagining an unreal ancient world by poems, where they can form an order that can fully meet their self-desire. Seven-poet School imitates the style of ancient literature because of his ontological consciousness of literature, trying to use powerful ancient literature to change the mean style folded by theory of reasoning; Sorai imitates that because of getting the meaning of the Six Classics through studying ancient language; Nankaku imitates that because of realizing outstanding self-expectation by ancient literature.It is not enough to discuss literature of Ken’en School from the perspective of theory of poem-creation. This chapter therefore analyzes the feature, disadvantage and advantage of the school through concrete literary works. On the aspect of poem creation, the way of imitation of Ken’en School is the same with the seven poets, since the school imitates the ancient literature and Tang Dyansty poetry. Some works are indeed similar with Tang Dyansty poetry, but the disadvantage is uninnovated. The school canonizing the seven poets, causing the literary works of the Ming Dynasty populate in the middle time of the Edo Period. Here, the chapter lists in detail the publication of literary works of the Ming Dynasty from Shoutoku to Meiwa, including the information of editors, proofreaders, writers of preface. These information can present us clearly that most of the publications are involved with the school. Especially the works by Li Panlong and Wang Shizhen are predominant. In the following, the chapter studies a series of problems of Selection of Tang Poems, edited by Li Panlong who has close relationship with the school, analyses the reason that such works can be popular for a long time, and finally makes a conclusion that there are many factors contribute to the situation.However, the school all the time imitates Tang Dyansty poetry, but the poems lack the emotion that can connect human being’s reality. During the process of exaggerated emotion and unoriginal repetition, the inner reflection and observation are neglected. When the reserve and ambition beared by literati fade out with the popularization of Chinese poems and the establishment of literati, the psychological foundation of the dependence upon Tang Dyansty poetry also collapses. Therefore, since the middle of the 18^th century, in the places where the school is not so popular such as Tokyo and Osaka, voices of anti-school rises continues. Then under the counterview of Hokuzan Yamamoto and others, the school goes to decline. And the tendency of imitating Tang or Ming Dyansty poetry fades out.The third chapter discusses the popularity and acceptance of Gong’an School in the poetic circles of the Edo Period. The chapter firstly, from the literary works and some literature bibliography, makes an investigation of the popularity of Gong’an School before Ken’en School dominating the poetic circles. In the early time of the Edo Period, the acceptance of the literary works of Gong’an School is that Gensei, through the introduction of Chen Yuanbin, imitates the works and approves of the theory of poem-creation of Yuan Hongdao. He not only imitates the style of poems of Yuan Hongdao, but also draws Yuan’s theory for reference. Besides, that Jyouzan Ishikawa and Zeigan Yanada draw thoughts from Gong’an School shows that at that period the poetic circles accepts the literature of the school.After the Sakushishikou by Hokuzan Yamamoto, The theory of expressing nature of human being from the school is widely accepted and used for criticizing Ken’en School and Seven-poet School. He advocates the theory in his works, and criticizes greatly Ken’en School and Seven-poet School. In this works, he inherits the theory from two aspects. One is that he admits poem-creation develops in accordance with time, and poems should not be valuated from the perspective of different period; the other is that he disagrees with the imitating the style of ancient poems, emphasing the expression of nature of human being and real scene, and approving of individualities. The school against Ken’en School and led by Hokuzan is regarded as Xingling School. Though, in his works, there are some words quoted from Anthology of Poetry of Dynasties written by Qian Qianyi, many directly or indirectly quoted words are from Yuan Hongdao’s which cannot be found in Anthology of Poetry of Dynasties. That means that Hokuzan indeed studies the original works of Yuan Hongdao intensively. The purpose that he chooses the theory of Gong’an School is somehow only against Ken’en School, but his insisting on the theory and a series of literary creation show that his choose is not just contingent. The whole poetic circles is at the point of innovation, and his choose follows the situation. However, he does not regard himself as a poet. There is a strong political ambition bearing in his mind. Poems are just a psychological field for him to release his political passion. The "real scene" that he emphases thus is not just the reality in the eye, but the social reality. In other words, the "real scene" indicates the attention to social phenomenon, which is different from Gong’an School’s passivism in the social reality. Though his works causes many disapproved voices due to the extreme words, by careful study, these voices are concerned with Hokuzan’s improper falsehood towards the literary works of Sorai, Nankaku, Li and Wang. He talks little about system, the development and theory of poem-creation. This indicates after Tenmei Period, Hokuzan’s theory is popular, and it is difficult to negate the theory positively.After the time of Hokuzan, Kouko-shisha led by Kansai Ichikawa continues the theory, and makes it prevalent through the whole poetic circles in the Edo Period by a series effective literary creation. This chapter chooses three members of Kouko-shisha, Shihe Kansai, Shibutsu Ookubo, and Gozan Kikuchi, who is more outstanding in the theory of poem creation, and makes a study on their acceptance of the theory of Gong’an School. Kouko-shisha, though retains the theory, already makes some differences from Gong’an School. And their theories of poem-creation are influenced by Yuan Mei—the poet in the Qing Dynasty, due to their attention to him. That causes that some of their viewpoints cannot be clearly distinguished to belong to Gong’an School’s theory or to Yuan Mei’s theory.The school accepts the advocating of Gong’an School that they enlighten to Song Dyansty poetry, and canonizes Song Dyansty poetry, especially Southern Song Dyansty poetry. Therefore, with the decline of Ken’en School, Song Dyansty poetry replace those in Tang and Ming Dynasties, and become popular as the standard of poem-creation. Through the investigation of publication of Song Dyansty poetry and engraved volumes, it can be found that there are many works by Lu You, Yang Wanli and Fan Cheng, who are the three outstanding poets in the Southern Song Dynasty. And most of the publications are related with Xingling School. In order to clearly and directly show out the creation of poems under the theory, we deeply analyze some concrete poems. Through analysis, we believe that these poems indeed bear the style of Song Dyansty poetry, and most of them take daily life as the topic, which is different from the heroic style of Tang Dyansty poetry. Some of the poems, though imitate the words and expressive way of the Song Dynasty, should not be regarded as plagiarized "fake-poems of the Song Dynasty", because the contents are based upon the real lives, rather than the imaginative world. The purpose of the imitation is to find values of the poem again and make an affirmance of them.In the late period of the Edo Period, the influence from Ming Dyansty poetry gradually passes away, due to the surge of Qing Dyansty poetry and the tendency of the juste-milieu in the poetic circles. There are few to advance the theory of Gong’an School. And the whole poetic circles pays more attention to the theory of Yuan Mei. The attitudes of different schools of poets towards the theory of Gong’an School in the late Shogunate lie on criticizing and approving of reasonable thoughts. It can be said that the theory of Gong’an School, through the advocating of Xingling School, is already innerized into the poets existing in the later period in different degrees.In summery, Ken’en School led by accepts the thoughts of returning to the ancient literature of Li and Wang, and imitates the style of the ancient literature, and frees literature from Confucianism and reasoning morality. The school still pays highly attention to the expressive form and aesthetic feature of literature, requiring elegance of the form and words, and clangorous sounds. That greatly improves the attainment of the Japanese towards Chinese literature, and helps poets finding the ontological value of literature during their creation. From this aspect, the imitation of ancient of literature by the school is the necessary stage for the development of Chinese poems in Japan, though their works are criticized as independence from the reality and the creations of literature are the same. In the later development, Hokuzan Yamamoto and Kouko-shisha heighten the theory of Gong’an School, and criticize the plagiarizing style of Ken’en School, and advance that poems should describe the reality and express the real nature. Therefore, the poems of the late of Edo Period can get happiness of finding out the daily life and scenes in poems. At the same time, under the instruction of the theory of poem-creation, poets, taking Song Dyansty poetry as the copy, can fuse the customs and emotions into Chinese poetry, realizing the Chinese poetry Japaneserization and popularization. In short, Ken’en School advocates rhetoric, making the expression of Chinese poetry of the Edo Period uphold, while Xingling School advocates reality, making the poems having wider range and more real on the contents and topics. That is the significance of Chinese poetry of the Edo Period accepting Ming Dyansty poetry.更多还原