范伯子诗学理论平议

On Poetic Theories of Fan Bozi

范伯子在晚清诗学发展图谱中占据着举足轻重的地位,他不仅被标举为桐城诗派的拓展光大者,且屡屡被援引为宗宋诗派的一面旗帜。震荡开阖、蜿蜒夭矫的诗作为范伯子赢得了"精者直掩涪翁"[1]的美誉,也奠定其岿然灵光的诗坛地位。同时,在南通范氏诗文世家十三代爝火不息、薪传赓续的诗文传承中,范伯子更是以其诗作雄视江表,在晚清诗坛屹然自成一家。饥凤悲时、孤麟泣遇的人生遭际奠定了其恢谲怪玮、兀傲不群的审美基调;"万家忧乐尽关心"与"一世澄清须满志"的胸襟器识,又促使其形成了"凡作诗,必处处有当时在,方不浪费笔墨"[2]的诗学主旨。作为连接桐城姚氏与义宁陈氏这两大文学世家的桥梁与纽带,范伯子标格清俊的文化品格与超逸绝尘的诗学成就,无疑是构建这种精英文化圈的基点。在范伯子的诗学体系中,没有界唐分宋的狭隘门户之见,更多地体现出古典诗学总结期转益多师的集大成特点。"唯有参之放炼间"是范伯子讨源溯流的诗学抉择;"独树一帜非羞颜"才是其一生所恪守的诗学信条,也是其跨越前贤、别营都聚、以成伟观等诗学理念的集中凸现。

Fan Bozi is a key figure in the development of classical poetry in the late Qing dynasty. He is not only an important person of Tongcheng School, but also the brilliant flag of Tong Guang Style. His excellent poetry makes him become an outstanding poet in the poetics history of lateQing dynasty. At the same time, he is also the most outstanding person who has achieved unique literature achievement in the developmental history of Fan family. The tragic life laid him a foundation which filled with larruping aesthetic characteristics. His humanist spirit made him pay attention to the reality. As a linking bridge who connected Yao family and Chen family, Fan Bozi＇ s self-respect in personality and poetry achievement are the footstone which constructed the cultural circle of elite. In his system of poetics, Fan Bozi didn＇ t have parochial view to Tang poetry or Song poetry, What＇ s more, he studied all kinds of styles, and looked these poets as his teachers. In his lifetime, Fan Bozi has been devoted to the pursuit of the style of original creation, and he always attempted to transcend competition with other poets. The original creation is the important embodiment in his poetic idea.