湖湘派與同光體之離合

The Divergence and Interaction between the Huxiang School and the Tongguang School

本文試圖展示湖湘派與同光體作爲晚清政治立場接近的最大的兩個古典詩派,在詩學與交往方面的種種離合。湖湘派可以追溯到明末清初王夫之論詩重緣情綺靡。嘉道間湖湘詩人鄧顯鶴與宋詩派多有交往,但並無意稱雄詩壇。以王闓運爲代表的湖湘派,是界於宋詩派與同光體之間的最大的一個詩派。同光體詩人中,如陳三立等,與湖湘派詩人多有交往。湖湘派詩人中,較早如鄧繹,晚學如陳鋭、程頌萬等,作詩亦多受宋詩派影響。在新文化運動的洪流面前,這兩個古典詩派由於文化命運的相似,共鳴多於異見。

This article shows the various divergence in poetics and the interaction between the Huxiang School湖湘派and the Tongguang School同光體,the two largest schools of classical poetry in the late Qing dynasty that took similar political stances.The Huxiang School can be traced back to Wang Fuzhi's王夫之poetics of emotion in the late Ming and early Qing dynasties.Despite his frequent associations with the Song Poetry School宋詩派,Deng Xianhe鄧顯鶴,a Huxiang School poet during the Jiaqing and Daoguang periods of Qing had no intention to dominate the circle.The Huxiang School,of which Wang Kaiyun王闓運was the representative,was the largest school caught between the Song Poetry School and the Tongguang School.Tongguang School poets,such as Chen Sanli陳三立,often interacted with its counterpart.Early Huxiang School poets such as Deng Yi鄧繹and the later Chen Rui陳鋭and Cheng Songwan程頌萬received influence from the Song Poetry School.Upon the New Cultural Movement,the two schools were faced with a fate more similar than different.