摆渡于传统文学与新文学间的“情感”之舟——1920年代梁启超的“情感”诗学

The “Emotional Bridge” between Traditional Literature and New Literature:Liang Qi-chao's “Emotional” Poetics in 1920s

欧洲之行使梁启超认识到"情感"因素对于构成健全的现代文化的重要性,从而强调中国新文化建设要体现情感与理性的均衡发展。他回归"诗言志"的诗学传统,从情感的角度重新厘定文学的本质和功用。在此基础上,他对于中国传统文学进行重新梳理和阐释,对于源远流长的中国抒情传统中的伟大诗人的情感品质和抒情方式给予了高度肯定,从而克服了自己早期褒扬西方文学而贬低中国文学的偏颇,将传统文学中的优秀成分视为新文学家的范本。以此,他校正了此前将新兴文学主要作为改造国民性的工具的认识,将新文学的建设指向了发扬光大国民性的方向。这与新文化运动和文学革命的主流话语形成了差异和对话。

Liang Qi-chao's Europe tour made him realize that the importance of 'emotional' factors in building a sound modern culture.As a result,he consequently advocated the balanced development of sense and sensibility in the construction of Chinese new culture.He returned to the poetic proposition that 'Poem articulates what is on the mind intently' and redefined the essence and function of literature from the emotional perspectives.On that basis,he reinterpreted and combed the Chinese traditional literature,spoke highly of the good emotion quality and the way of expressing feelings of great poets in ancient Chinese lyrics,and thus overcame his earlier biases of praising Western literature and belittling Chinese literature.He further urged the new literature writers to model on the excellent elements in traditional Chinese literature.This way,he corrected the cognizance that the new literature was seen as a tool of rebuilding the national character and led the construction of new literature to the direction of carrying forward national character.This represents the differences from and dialogue with the mainstream discourse of New Cultural Movement and Literature Revolution.