诗教传统的坚守与背叛——陈三立诗歌的现代性

Modernity of late Qing poetry: adhesion and rebel against Chinese traditional poetry principle with CHEN San-li as an example

“温柔敦厚”的诗教传统是儒家古典诗歌理论的重要范畴,对我国古典诗歌产生极大影响。近代以来,西方个性解放主义思潮传入我国,诗教传统已不适应社会和诗歌发展的潮流。一些深受文化传统影响的诗人在创作中开始不自觉地冲破“温柔敦厚”的樊篱,中国传统诗歌承载了更多个性解放的时代内容,因而具有了现代意义。陈三立的许多作品中保存并发展了晚明以来诗歌流露出来的那种自我意识急速膨胀但又严重受制于现实的哀伤、敏感与悲愤,尽管由于自身以及时代的局限,陈三立没有在思想上彻底摆脱纲常名教,但在诗歌创作上回应了晚清民初小说界的“哭泣”主题,他的两难处境,实际上也是晚清时期处于新学旧学交界时的文人的两难处境,具有强烈的时代性。

The poetry principle of ＂moderate and medial, honest and sincere＂, the core of which is the ＂medial harmony＂ asserted by Confucius, had played an important role in the Chinese classical poetry, Since 1840＇s, more and more Chinese intelligentsia sought ideology from western countries to save their nation, and the Confucian poetry principle of ＂moderate and medial, honest and sincere＂, which was the vindicator of the old feudalism of the time, was found no longer suitable to the modem Chinese poetry. Though greatly influenced by long term Confucian education, some poets, Chen San-li for example, had made a breakthrough at the dogma.