百年来中国文学史书写中的陈三立

Chen Sanli in the Writing of Chinese Literary History in the Past 100 Years

自五四时期中国近现代文学史开山人物胡适基于白话文学正宗观,将陈三立等近代学宋派诗人定为"模仿的诗人""雕琢的诗人"判入"死文学"行列,到新中国成立初期,文学史著作将同光体定为封建主义文化和形式主义诗歌的典型代表,视之为反动的逆流,再到近年来,文学史家对以陈三立为代表的同光体诗人表现出更多的"了解之同情",肯定其在学古中追求创新的艺术品格,对其部分诗作表现的时代内容乃至"现代性"予以正面评价,百年来中国文学史书写中的陈三立形象发生了显著变化。时至今日,如何在文学史中客观描述和准确定位以陈三立为代表的同光体诗派,依然是一个学术难题。

Since the May Fourth Movement,Hu Shi as the pioneer of the history of modern Chinese literature,based on the vernacular literary orthodoxy,identified Chen Sanli and other modern Song School poets as imitating poets and formalistic poets and judged as dead literature. In the early days of the founding of the People’s Republic of China,Tongguang style was regarded as a typical representative of feudalism culture and formalist poetry in literary history works,and it was regarded as a reactionary countercurrent. In recent years,literary historians have expressed sympathy on understanding Tongguang style poets represented by Chen Sanli. They affirmed his artistic style of pursuing innovation in imitating from ancient times,and positively evaluated the content of the times and even the modernity of some of his poems. The image of Chen Sanli in the writing of Chinese literary history over the past century has changed significantly. Today,how to objectively describe and accurately evaluate the Tongguang style poetry represented by Chen Sanli in the history of literature is still an academic problem.