梁启超与中国抒情传统论

Liang Qichao and the Chinese Lyrical Tradition

梁启超的文艺思想可以他1919年访欧为界线分为前后两期。他早年所主导的晚清文学革命,承载了过重的社会改良的负担,以至于在中国文学现代化的发轫之初,便为之注入了以主观策略性而非客观学术态度对待古典文学的倾向。后期梁启超以表现情感为文学标准,择取韵文作为正面论述对象,走出了"诗界革命"时期以缺乏叙事性否定中国古诗、"小说界革命"时期以社会改良为由号召重点改造中国小说的思想阶段,为诗体文学确立了崇高的地位。其基本美学立场,由以外在社会功利为导向的文学致用主义,转向对作为情感教育手段的文学审美特征的首肯,或者说,转向了一种指向个体内在的审美功利主义。这些变化,都是抒情传统论得以出场的重要前奏。

Liang Qichao＇s trip to Europe in 1919 divides his literary theory into two periods. The literary revolution of the late Qing Dynasty which he led early in his life carded a burden of social improvement so heavy that at the beginning of the modernization of Chinese literature a trend came into being, namely, to study classical literature, not in an objective academic way, but in a subjective tactical way. However, in the latter period he adopted the expression of feelings as a literary standard and chose verse as his object of exposition, thus bidding farewell to the literary period in which the ＂revolution of poetry＂ faulted classical Chinese poetry for lacking a narrative heritage and the ＂revolution of the novel＂ called for a reformation of the Chinese novel on grounds of social improvement and placing the poetic genres on a very high pedestal. This marked a shift in his aesthetic position from a literary pragmatism oriented toward external social betterment to an approval of the aesthetic properties of literature as a means of sentimental education. , in other words, to an aesthetic pragmatism oriented toward an individual＇ s internal existence. These changes are an important prelude to the advent of the lyrical tradition.