“同光体”形成考述

Research on the Formation of “Tongguang Style”

"同光体"是晚清最为重要的一个诗歌流派,但这一称谓的具体所指,却颇有歧义。陈衍、郑孝胥最初提出这一名称,本是指同光之交流行于诗坛的时代风尚,并非一种"自称"。而姚锡钧、林庚白和汪辟疆等太学论诗时,因这一称呼出自陈、郑之口,就未加辨别地把它视为一种"自称",借以指称彼时正为盛行的陈、郑诗风,从而发生了误读。后又经南社诗人唐、宋诗歌的意气之争,和现当代学者忽略时代指向、充实诗学意涵的学理建构,这个本属于小群体论诗的私人话语,才进入公共文化空间,最终成为一个重要的学术名词。只有弄清"同光体"称谓的来龙去脉,才能真正理解其实际所指,及背后的时代精神与内涵,从而纠正晚清诗歌研究中"同光诗歌"认知的"时代错位",和近代诗史建构中"宗宋"叙事泛化等问题。

"Tongguang Style"is the most important poetry style in the late Qing Dynasty,but the specific meaning of this term is quite ambiguous.Chen Yan and Zheng Xiaoxu first proposed this term,which originally referred to a new poetic fashion in the Tongguang period,not a kind of"self-proclamation."However,when Yao Xijun,Lin Gengbai,Wang Pijiang and others discussed poetry in Taixue,they regarded the term as a kind of"self-proclamation,"and used it referring the poetry of Chen and Zheng,because it came from them.In this way,this name was misread.Later,after the Nanshe school’s dispute over the Tang-Song poetry,and the academic reconstruction of modern scholars,this private discourse of poetry of a small group,entered the public cultural space,and eventually became an important academic term.Only by clarifying the ins and outs of"Tongguang Style"can we truly understand what it actually refers to,as well as the time spirit and implication behind it,so as to correct the"epochal dislocation"in the discussion of"Tongguang poetry,"and the generalization trend of"Zong Song"narrative in the construction of modern poetic history.