大江匡房是日本平安朝晚期的漢學碩儒，《江談抄》是他在晚年令弟子藤原實兼筆錄其言談的語錄體著述，此書收錄為數可觀的中、日文人詩話，成書年代約相當於北宋徽宗年間。本文針對此書的詩話群進行對照研究，從詩話的定義、北宋詩話的特徵、特定詩話翻案的手法等角度探討《江談抄》與北宋詩話間的關聯。《江談抄》與北宋詩話，雖然登場人物、時空背景不同，但在故事的骨架、敘事的手法以及主題意旨上，《江談抄》詩話有如模寫北宋詩話的形態。本書有兩樣特徵，都與北宋詩話相通：一、沒有系統或完整的詩學理論，架構鬆散、多瑣事趣聞的雜錄：二、書中主題跨涉「論詩及事」、「論詩及辭」的範疇。虎關師鍊的《濟北集》中所纂述的詩話，向來被認為是日本詩話的濫觴。不過，《江談抄》的詩話雖無詩話之名，卻有詩話之實，且收載的詩話數量遠勝《濟北集》。也就是說，《江談抄》是日本最早受到宋代文學影響的作品。

Oe Masafusa 大江匡房 was a Japanese scholar famous for the study of Chinese classics in the late Heian 平安 period. His late work, Godansho 江談抄, consists of writings edited and compiled by his student, Nosanekane Fujiwara 藤原實兼, from notes he had taken of his conversations. Completed around the Huizong 徽宗 period of the Northern Song dynasty, it records a significant quantity of discussion and anecdotes about Chinese and Japanese poets and their poetry. This article is a comparative study of the contents of Godansho, exploring the connection between it and comparable Northern Song notes on poetry, from the point of view of the definition of poetry, features of the notes, and particular ways of presenting contrary views contained within them. Though the personages and backgrounds differ, the poetry notes in the Godansho are similar in form to those of the Northern Song, especially in structure, the way stories are told, and the main themes. The Godansho is also similar in that it is also a compilation of notes on poetry that does not present any complete systematic poetic theory, and also discusses anecdotes from poetic circles and different forms of poetry. The notes on poetry in Kokan Shiren's 虎關師鍊 work Saihokushu 濟北 集 are believed to mark the beginning of this form of discourse on Japanese poetry. However, Godansho represents another kind, and contains far more notes than Saihokushu. This implies that Godansho is the earliest Japanese work influenced by Song dynasty literature.