陈衍“三元说”与沈曾植“三关说”之理论差异

The Theoretic Differences between Chen Yan's Views of San-yuan and Shen Ceng-zhi's View's of San-guan

陈衍和沈曾植均为近代同光体之代表诗人。作为同光体的理论家,陈衍最重要的诗学主张就是所谓"三元说",即学诗应该以盛唐开元、中唐元和、北宋元祐诗人为楷模。然沈曾植在与陈衍论诗、得悉陈衍"三元说"内涵并为之诠释后,又提出"三关说",即学诗应该打通"三关":宋之元祐、唐之元和、晋之元嘉。过去讨论同光体,着重在其成员创作和理论的共性特点,对其间所存在的差异,论述不多。其实,作为近代人员最多、影响最大的诗歌流派,其内部无论创作,还是理论,都有差异,尽管他们都集结在学宋的大旗之下。陈衍"三元说"与沈曾植"三关说"的差异,首先是学习的对象不同,"三元说"有开元,而"三关说"将其易为元嘉;其次是学习的时序不同,"三元说"是顺下,"三关说"是逆上;再次是学习的内容不同,"三元说"仅局限在诗歌的范围内,而"三关说"则将写诗之功夫,拓展到儒学、玄学和佛学,即学术的范畴,同时,又与时代之现实内容挂钩。

Chen Yan and Shen Ceng-zhi both were the representative poets of Tongguang Style in the history of modern poetry.As the theorist of Tongguang Style,Chen Yan＇s important theory,Views of San-yuan is learning poetry should take the poets of Kaiyuan,Yuanhe,and Yuanyou as models.Shen Ceng-zhi,after knowing the connotation of Views of San-yuan,proposed views of San-guan,which is learning poetry should get through three passes of Yuanyou,Yuanhe,and Yuanjia.In the past,researches into Tongguang Style were focused on the writing and theoretic commonness of the members while the difference was usually neglected.Actually,as the largest and most influential style in modern poetry,there were differences in Tongguang Style,both in writing and theory,although they all congregated under the flag of learning from Song.The present paper,aimed at analyzing the connotation of San-yuan and San-guan,reveals the differences between them as follows： First,the learning object is different.Kaiyuan in views of san-guan is replaced by Yuanjia.Second,the learning order is different.The order of San-yuan is down,and San-guan is up.Third,the learning content is different.The learning content of San-yuan is just poetry,but San-guan extended to academy,such as Confucianism,Metaphysics,and Buddhism,related to reality at the same time.Thus,we comprehend the poetry characteristics of Min School and Zhe School in Tongguang Style.