森槐南对陈文述接受的演变与其诗学路径的转向

On the Evolution of Mori Kainan’s Acceptance of Chen Wenshu and the Conversion of His Poetic Path

日本明治时期的汉诗人森槐南在其十六岁时曾作《补春天》传奇,将中国诗人陈文述塑造成一个"情种"的形象;复于五年后作组诗《读陈云伯<颐道堂集>》,对陈文述其人其诗作了更为全面的呈现与评价。相较之下,前者的创作以其父森春涛以香奁诗风引领诗坛为背景,故此作也可视为他对其父诗坛地位建构的助力;而在后者中,森槐南则对陈文述中年诗风的改辙持赞同态度,由此反映出其亦试图谋求自身诗风转变的意图,此后他也在香奁与雅正之间寻求到了一个平衡点。森槐南对陈文述接受的演变既可为陈文述在日本汉诗坛的接受现象构成一个补充,亦是森槐南诗歌创作轨迹中一个不可或缺的环节,故其探讨具有一定的意义。

In Meiji period,the Chinese-style poet Mori Kainan shaped the Chinese poet Chen Wenshu into a image of"Qing Zhong"(情种)in the drama"Repair the sky of Spring"when he was sixteen.Five years later,Mori Kainan wrote"Reading Chen Yunbo’s<The Works of Yidaotang>",made a more comprehensive presentation and evaluation of Chen Wenshu and his poems.In contrast,the former’s creation was based on the background of his father Mori Syuntou leading the poetry with the xianglian(香奁)-style.Therefore,this work can also be regarded as Mori Kainan’s help in the construction of his father’s status of poetry.In the latter,Mori Kainan showed a commendation with the change of Chen Wenshu’s poetry style in his middle-age,which reflected his intent to seek a change of his own poetry style.Since then,he found a balance between the xianglian and yazheng(雅正)poetry style.Mori Kainan’s evolution of acceptance of Chen Wenshu can not only make a supplement of the subject of Chen Wenshu’s acceptance in Chinese-style poetry of Japan,but also an indispensable link in the trajectory of Mori Kainan’s creation of poems,so the discussion has its certain significance.