朱熹「淫詩」說中、日接受之比較: 以十七至十八世紀為中心

Zhu Xi’s conception of “licentious poetry” is one of the most debated issues in the study of the Book of Odes. However, few scholars devoted their research to that conception when delineating the reception of Zhu Xi in Japan. Some relevant traditional issues, such as differentiating “Zheng sheng yin” (Zheng music is excessive) from “Zheng shi yin” (Zheng poetry is licentious), have drawn most attention. Now it is necessary to reexamine the principles of Zhu Xi’s theory of “licentious poetry,” and the reception of them in different cultures. The present essay attempts to reconsider Zhu Xi’s theory of “licentious poetry” at two dimensions: the author and the reader. The former corresponds to the concept of “elopers themselves creating licentious poetry,” and the latter the concept of “encouraging the good and warning the evil.” In terms of those two dimensions, the essay will investigate the criticism of Zhu Xi’s conception of “licentious poetry” by Japanese Edo scholars as well as by Chinese Ming and Qing scholars. Different attitudes and assumptions in Japan and Chinese scholars will be demonstrated through comparison. The investigation will be focused on the objection to or revision of Zhu Xi’s theory, and thus be limited within 17th and 18th centuries when Japanese Ancient School thrived. As far as Chinese scholarship is concerned, the limits will be appropriately extended to the end of Song or the beginning of Yuan in order to disclose the origin of some disagreement.