《和汉朗咏集》成书于1013年左右，其编者藤原公任（966-1041）是日本平安时代中期的公卿、歌人，官至正二位权大纳言。该书是以和歌和汉诗为主体的摘句集，其中汉诗又以白居易的作品为最多。《和汉朗咏集》在白居易诗流传过程中起了重要的作用，但以往学界的关注重点在于其“和与汉”两种文体的消长，而有关《和汉朗咏集》对于白居易作品在日本的传播上起到的作用，并未做出具体的分析。本文首先对《和汉朗咏集》中白居易诗的收录情况进行了数据分析。发现该集对于白居易诗的选择集中在38、44、58岁三个人生转折点处，且对于收录的白居易诗句的分类名称，多处与白诗内容重合。这一选择特点与之前的《千载佳句》颇为相似，可以看出日本人对于人生产生变数、挫折情景下创作出的诗句更能产生共鸣。其后，本文将《和汉朗咏集》中的白居易诗与《大江千里集》（894）、《千载佳句》（929）中的白居易诗进行对比。现得出以下结论：同为平安时代以白居易诗为主的佳句选集，上述三部诗歌选集，对于白居易诗的接受，在内容和形式上呈现出不断丰富的特点。就形式而言，《大江千里集》五言诗突出，《千载佳句》以七言为主，《和汉朗咏集》五言、七言兼备，更有长句、骈文等体裁。《大江千里集》需要借助“句题和歌”的形式来对白居易诗进行改写，而《和汉朗咏集》中可以直接朗咏白诗原句。就内容而言，《大江千里集》以闲适诗为主体，《和汉朗咏集》中增加了讽喻诗的内容，以及对于已有的四季、述怀等内容作了进一步的补充和发展。以及对于同一句诗在分类方式上的不同，都体现出其对于诗句的理解也有一定的发展。从这些方面可以看出，《和汉朗咏集》中的白居易诗不仅是对平安时代既有佳句选择方式的继承，同时以“和”（和歌）的思维方式吸收“汉”的内容（白居易诗），这一点体现了该集“和汉交融”的时代特点。《和汉朗咏集》对于白居易诗的吸收和理解进一步影响了后世文学作品，本文通过分析《和汉朗咏集》中《上阳白发人》和《太行路》的摘句在后代文学作品中的接受情况，说明后世的理解和接受已脱离原意，而受到了《和汉朗咏集》分类的影响。本文旨在讨论《和汉朗咏集》在日本文学史以及白居易受容史上的地位和作用。通过共时研究和通时研究，指出《和汉朗咏集》不止是平安时代后期“和汉交融”的产物，经由《和汉朗咏集》的吸收，白居易的诗歌开始成为日本文化的一部分，在《和汉朗咏集》之后的文学作品中，白居易也不再作为外来的形象而出现。
The Wakan Roeishu was written in 1013 and was compiled by Fujiwara Kinto, knownas the DaiNagon. It is a collection of excerpts from waka and Chinese poems, of whichBai Juyi's is the most numerous. The focus of scholarly attention has been on the waxingand waning of the two literary themes of He and Han, and no specific analysis has beenmade of the Wakan Roeishu in the dissemination of Bai Juyi's work in Japanese literbature.Firstly, the data analysis of the composition of Bai Juyi's poems in Wakan Roeishu isthat the selection of Bai Juyi's poems is focused on three turning points in his life: 38, 44and 58 years old, which is similar to that of the Senzai Kaku and it is clear that theJapanese could relate better to poems written in the context of life's vicissitudes andsetbacks. The poems in the Wakan Roeishu are then compared with those in the OeChisatoshu and Senzai Kaku. The following conclusions are drawn: these three poetryanthologies are all characterised by a richness of content and form in the reception of BaiJuyi's poetry, which was the main focus of the anthology. In terms of form, the OeChisatoshu stands out for its five-word poems, the Senzai Kaku is mainly seven-word,and the Wakan Roeishu has both five- and seven-word poems, as well as long lines andparallel texts. The Oe Chisatoshu requires a rewrite of Bai Juyi's poem in the form of a'Kudai Waka', whereas in the Wakan Roeishu, Bai's poem can be recited directly. In termsof content, the Oe Chisatoshu is mainly a collection of leisurely poems, while the WakanRoeishu adds satirical poems and further complements and develops existing poems onthe four seasons and on reminiscence. The different ways of classifying the same line ofpoetry also reflect a certain development in the understanding of the verse. In these ways,it is clear that the poems of Bai Juyi in the Wakan Roeishu are both an inheritance of thebest lines that existed in the Heian period and an addition to the collection's 'blend of Heand Han' character.By demonstrating that the excerpts from the poems 'Shangyang Baifa Ren' and 'TaihangLu' in the Wakan Roeishu were used in future literary works, this paper intends to showthat the use of these two verses in later times was influenced by the classification of theWakan Raneishu, rather than by their original meaning.This paper, through synchronic and diachronic study, points out that the Wakan Roeishuis not only a product of the late Heian period's ' blend of He and Han', but also has asignificant place and role in the history of Han literature. Through the assimilation of theWakan Roeishu, Bai Juyi's poetry started to be internalised as part of Japanese culture,and he no longer appears as a foreign figure in the literature that followed the WakanRoeishu. The work in this paper contributes to a renewed understanding of the place ofthe Wakan Roeishu in Japanese literature history and the influence study of Bai’s poetry.
