《雪桥诗话》诗学思想研究

《雪桥诗话》是清末杨钟羲毕其一生所萃之作。诗话卷帙浩繁,资料丰富,是研究清代诗学、文学批评史、清史、文化史、北京史、满学不可或缺、颇为重要的文献资料。本文通过对杨钟羲生平仕宦、个人诗作、《雪桥诗话》选录诗人诗作、诗歌流派品评等几个方面的分析,来探究杨钟羲《雪桥诗话》的诗学思想及其成因。     

论日本《五山堂诗话》的诗学观及对中国古典诗学之受容

日本江户时代诗人菊池桐孙所著《五山堂诗话》,其中关涉中国古代诗歌、诗论颇多,不乏精辟之论。在诗歌主张上,倡导性灵,排斥生僻;诗歌宗尚上,兼师唐宋,排斥伪体。这既是对当时诗坛弊习的纠偏,鼓扬山本北山等反古文辞派的观点,也源于对中国诗歌、诗论之影响受容。发掘《五山堂诗话》的诗学主张,梳理其对中国诗学之受容,无疑对当今的古诗研究具有借鉴价值。     

明代诗话中的“声学”理论补说

明代是中国诗学史上诗歌"声学"最繁盛的时代,继宋金元之后对诗歌的基本问题进行了深入探讨。在复古诗派前后七子等人的倡导下唐诗受到重视,诗学理论家通过诗话、选本等多种途径,对审音辨体等诗歌基本问题提出了自己的理论。明代诗学中影响较大的"声学"理论已得到学界重视,但是卷轶浩繁的明诗话中还保存着许多有价值的理论。本文立足《明诗话全编》,通过文本研读补说了明早中晚期一些名家之外有特色的声学理论。期望能够让其中包含的古人宝贵实践经验获得全面的理解和发掘,揭示当时由通过"声学"来感悟、创作、鉴赏逐渐走向更加系统完善诗论的趋势。     

清末广东文人李长荣早期诗学思想探微——以日本稀见藏本《茅洲诗话》为中心

《茅洲诗话》是广东文人李长荣的诗作,日本大阪大学"怀德堂文库"藏其书稿一部,题名为《茅洲诗话待删草》,乃是光绪三年(1877)重刊本。因他与江户诗人有文字之交,故是书得以保存日本。据现存文献看,江户时代的诗人藤宏光、小野长愿、鹫津宣光、松岗时敏、森鲁直、神波桓、青木咸一等是其中的唱和诗友,其文字交往现存于《海东唱酬集》中。总体而言,《茅洲诗话》特别关注乡邦诗人创作,兼及广东民风,以诗学形式保存了大量地方民俗,具有很高史学与诗学价值;论诗则标举性情,力倡浅易诗风,在以"学人之诗"为主流的诗坛实属难得。     

传统诗教与清廷政教的共谋——以孙鋐和铁保的御敕清诗选本为批评视角

御敕清诗选本是清代选本领域中的一个独特而重要的类型。由于封建帝王的参与,这些选本基本上可视为清廷官方诗学话语的宣传载体。我们以《皇清诗选》和《钦定熙朝雅颂集》两部御敕清诗选本为例,从传统诗教与清廷政教共谋的角度来剖析御敕清诗选本的批评意识与实践在清廷官方诗学话语确立过程中所发挥的重要作用,进而可以从一个新的角度来审视清代诗坛清真雅正诗风的形成背景。     

《宋诗话辑佚》拾遗初编

郭少虞先生《宋诗话辑佚》对已经亡佚散失的三十六种宋代诗话著作作了辑佚工作,为研究宋代诗学提供了重要的参考书。限于材料,先生辑佚之外还有一些资料未见收录,虽有学者作了一定的增补,然仍有部分资料可以补遗。本文即对《宋诗话辑佚》中的六种诗话,《王直方诗话》、《古今诗话》、《唐宋诗话》、《潘子真诗话》、《桐江诗话》、《艺苑雌黄》等六种作了增补。     

八旗文学文献视域下的《雪桥诗话》与《熙朝雅颂集》

《熙朝雅颂集》是作于清前期的八旗诗歌选集,《雪桥诗话》则是编撰于民国时期八旗文学文献的诗话,二者均是研究清代八旗文学的重要文献.两者间既有内在精神的一致性,又各有其特点:《熙朝雅颂集》是展示八旗文学全盛、显示帝国武功的诗歌选集,体现的是满洲统治者的文化意图和审美风尚; 《雪桥诗话》则集中体现了杨钟羲的文化遗民精神,意在全面保存有清一代的八旗文学文献; 《雪桥诗话》以《熙朝雅颂集》为文献来源之一,又对后者进行相应的考辨与纠谬,尽管这种纠谬仍有失察之处.《雪桥诗话》与《熙朝雅颂集》都是研究清代八旗文学文献的珍贵文献,无可替代.     

马长海及其诗歌

有清一代八旗诗人数量激增,成为清代诗坛上一支崛起的新军,他们所取得的成就引起了人们的注意,袁枚就说:“近日满洲风雅,远胜汉人,虽司军旅,无不能诗。”(《随园诗话补遗》卷七)在这为数众多的诗人之中,情况也不一样,有志得意满而附庸风雅的,有怀才不遇而一吐为快的,有遭遇坎坷而愤世疾俗的,有遁迹山林而缒幽凿险的,凡此种种,都有一些代表人物,他们在山水诗,咏物诗、怀古诗、怀人诗、爱情诗,论诗诗诸方面都曾有过佳作,为清代诗坛增添了绚丽的色彩。研究清代诗歌,不对八旗诗人和作品进行微观和宏观的考察,势必得不出一个清晰完整的结论。我们这里介绍的马长海就是一个鲜为人知而又卓有成就的满族诗人。     

莫友芝未刊稿本《影山草堂学吟稿》述略

晚清贵州学、诗人莫友芝的未刊手稿《影山草堂学吟稿》保存莫氏早期的诗歌66首,诗歌反映了晚清较为广阔的社会生活;存留有莫氏诗学见解;并可以从诗歌中了解诗人诗风形成的过程。     

论女性话语对清代诗学的建构

清代女诗家主动发声,以不俗的成绩在充实与完善古典女性诗学内部建构的同时,也在与男性诗人的双元互动中彰显自身的性别特征,对清诗学风貌的构建作出了具有划时代意义的贡献。使得清代诗坛出现了男女两性诗学共荣的新景观。可以说,清诗学的全面复兴是两性共同努力的结果。     

“出郭九行”与“诗史”精神

出郭九行”是对清初文学家魏禧及其兄魏际瑞九首叙事诗的总称。这组诗以沉痛的笔调描述了顺治末年百姓在官兵掳掠、盗贼横行之下的惨痛生活,是对杜甫“诗史”精神的践履;在艺术手法上,也吸收了杜甫叙事诗的艺术精华,并予以活用,体现出杜诗在清初诗坛的典范意义。     

令钞本代随园诗谔稿本汾述略

清袁枚《随园诗话》,未见录或言及有稿本存世。近见江苏省泰州市新华书店上世纪七十年代初传钞《随园诗话稿本》一部。若所据确系原稿,则有值得注意之处：(1)可据以进一步校勘刻本：(2)中有若干刻本不见的作行实、交游资料,以及清人诗作：(3)可得知《随园诗话》撰写过程中的部分修改情况。     

The presence of Sikelianos in the poetry of George Seferis

Abstract

Echoes of Sike1ianos' poetry can be detected in many poets, but his presence in Seferis is particularly interesting in the light of the close personal relationship which developed between the two poets from the 1940s. The poetic dialogue starts with Seferis' Στρo?η (1931) and develops continuously until his last book of poems, Tρια Kρυ?? Φoιημα&tauα (1966). Seferis, attracted by Sikelianos' linguistic richness, recreates the older poet's words ingeniously in his search for a new poetics. I examine this dialogue chronologically to show that exploring the presence of Sikelianos in Seferis' poetry enhances the understanding of the younger poet and reveals that, however great the differences in matters of technique between the two poets, their attitudes to poetry and poetics are in the end closely related.     

Lady Avengers in Jin He＇s （1818-1885） Narrative Verse of Female Knight-Errantry

Jin He 金和 (1818–1885), a pioneering poet of mid-nineteenth century China, wrote in a colloquial style strongly influenced by the ballad tradition. Jin’s style was prose-like and broke all the structural limitations of earlier poetry in order to create formal innovations, while at the same time experimenting with new subject matter. Liang Qichao 梁啟超 (1873–1929) and Hu Shi 胡適 (1891–1962) considered Jin He and Huang Zunxian 黃遵憲 (1848–1905) to be the major poets of the nineteenth century. Jin had a major impact both on other late nineteenth-century poets and on the “Poetic Revolution” that led to the rise of modern Chinese literature. However, his verse has been largely ignored ever since. Among the most striking contributions Jin made to the literary transition in the nineteenth century was his innovation in presenting the female knight-errant 女俠 (nüxia). This invented image of the female knight-errant reflected a new tradition of women’s voices in the literary works of his time, and had a great impact on the representation of swordswomen in modern literature. This paper examines how the image of nüxia in Jin’s writing is distinct from those found in past poetry, how the female knight-errant in Jin’s works inverts conventional gender norms, and how Jin’s female knight-errant image is both connected with and distinct from those in other literary forms.     

Classical Chinese Poetry in Singapore

The evolution of classical Chinese poetry in Singapore is closely related to the immigration experience of Chinese intellectuals in various periods. The travelogues of the foreign trips by Chinese officials dispatched to Singapore in the late Qing dynasty, such as Zuo Binglong 左秉隆 and Huang Zunxian 黃遵憲, focused on the depiction of exotic landscapes and aimed to open up horizons. The poems written by Khoo Seok Wan 邱菽園 and Pan Shou 潘受, and numerous works published in local newspapers from the period before the Second World War to the 1970s, represented the highest achievement of characteristically classical Chinese poetry in Singapore. After the 1980s, the new type of poetry writing reflected in the “Xin Sheng Poetry Society” (Xin sheng shi she 新聲詩社) and poetic columns online was characterized by diversity in the path of communication and the choice of subject matter, as well as an overall decline in creative quality. This article attempts to present the different stages of classical Chinese poetry in Singapore and its features over the course of the century within the context of Sinophone literature.     

盛唐集贤院诗歌活动考论

一般认为律体律调定型于初唐,但并不意味之后的诗歌活动都无须关注声律。盛唐集贤院群体性诗歌活动,群体性除创作实践外,还表征于人才汇聚、诗文评议和文艺书籍修撰等方面。在这层意义上,可以说"二张"和他们领导的集贤院学士一起推动了唐诗声律从定型走向成熟。     

论纳兰词的思想境界

纳兰性德的词在清词中首屈一指,但在文学史中地位不高,大多源于人们认为纳兰词无病呻吟,思想境界不高。文章将纳兰词与李煜、晏几道、李清照的词作对比,展示其叛逆、纯真、旷达的积极面,认为文学史应该给他在我国词发展史上更高、更重要的地位。     

试论楚辞对郑知同诗歌创作的影响——以《屈庐诗稿》为例

楚辞是我国浪漫主义文学的滥觞,自诞生之日起就对后世的文学创作产生了重大的影响。清末诗人郑知同在诗歌创作方面有明显接受楚辞之处。本文从屈原的内在精神、楚辞的艺术手法、词汇等方面对郑知同诗歌创作的影响进行了简单的探讨,同时指出楚辞的影响是郑知同诗歌创作取得成功的因素之一。     

Esmail Khoi: The Poet as Observer and Creative Explorer

This article focuses on how Esmail Hkoi poetically inhabits the world of his poetry as an observer and visionary explorer. Its aim is to make manifest how he engages his readers in reciprocal poetic dialogues to communicate his unique vision of the lived world. The dialogic function of his poetry is then examined as the ground of emergence of an experiential poetic mode of knowledge of the human condition. The article also considers Khoi's poetry as work done in the fields of language, alchemically transmuting everyday language of communication into poetic discourse. Finally, an analysis of his poem “To the Aged Mulberry Branch” explicates how Khoi can create a world of imagination whole and entire unto itself by his minimalist approach to poetry.