陈衍《石遗室诗话》论“同光体”

The Commentary of Tongguang-Style Poems in the Shi Yishi Poetry Critique

陈衍的《石遗室诗话》论“同光体”,从诗歌发展史的视角观照宋诗,提倡“学人之诗与诗人之诗合”,研究诗歌的个性化、“至”的境界等诸多理论问题,对思考中国近代诗歌及诗歌理论具有重要启示和借鉴意义。然而,“同光体”诗派在晚清“众多的诗派诗人中,影响最大,也最为人们所诟病”,究其原因,主要是政治因素使然,因此,对《石遗室诗话》中的同光体诗论进行一番去蔽还真的探讨是必要的。

The commentary of Tongguang-style poems in the Shi Yishi Poetry Critique by Chen Yan looked into poems of Song Dynasty from the perspective of the evolution of poems, advocating the harmonious development between the ＂poems with both wisdom and emotion＂ and those with pure emotions. It studied various theoretical issues like the individuation of poems and how to achieve a proper expression of emotion, thus providing firm basis for the research into modem poems and theories of poetry. However, among all the poetry schools existing at the end of Tsing Dynasty, Tongguang style exerted the greatest influence, but also came under the greatest condemnation. This should mainly be attributed to the political factors. Therefore, it becomes imperative to make rational analyses into the comments about Tongguang-style poems in Shi Yishi Poetry Critique .