明清易代士人“诗史”书写中的自我建构--以钱谦益为中心的探讨

Construction of the Self in the writing of"Shishi"poetry by scholars of the transitional period of Ming and Qing dynasties:A discussion centered on Qian Qianyi

明末清初,以钱谦益为代表的易代士人纷纷重释“诗史”理念,并在其“诗史”创作中将公共空间的史事记录与私人向度的自我书写相结合,进行一种“自传性”作业。钱谦益在诗文补史、证史之外,加入其身份、心态、记忆的阐述,将之纳入遗民诗的传统之中,进一步开拓了诗人自我书写的空间。如在诗歌创作中,将个人影像铭刻在宏大的历史叙述之中,勾连“一人之史”与“一朝之典故”;在社交网络中,通过剪裁和提炼“他者”(当朝历史人物)的言行事迹,进行自我言说。此外,吴梅村诉诸“野夫游女”的“面具”诗艺,钱澄之的个人年谱,杜浚的“梦忆体”等,也与钱谦益的诗史创作一道,共同呈现了易代士人“诗史”创作中的自我建构,丰富了“诗史”的美学实践与诠释体系。这些书写,为我们探求世变之际,士人在文学、艺术上的新变提供了参考。

In the late Ming and early Qing dynasties,the scholars of the transitional period,represented by Qian Qianyi,in their"Shishi"creations,reinterpreted the concept of"Shishi"and combined historical records of the public space with the writing of the Self of private dimension,performing an"autobiographical"writing.In addition to complementing and proving history in his poetry,Qian Qian Yi added his interpretation of identity,mentality,and memory to the tradition of Yi-min poetry,further extending the poet's space for writing the Self.For example,in his poetic compositions,he inscribed his personal images into the grand historical narrative,linking"the history of an individual"with"the allusions of one dynasty",while in the social network,he undertook the discourse of the Self by cutting and distilling the words and deeds of the"Other"(historical figures of that dynasty).In addition,Wu Meicun’s"mask"poetic art which resorted to"cultural vagabonds",Qian Chengzhi's personal chronicle,and Du Jun’s"Dream Style",together with Qian Qianyi's poetry about history,all presented the construction of the Self in the creation of"Shishi"poetry by the scholars of the Ming-Qing transitional period.These writings enriched the aesthetic practice and interpretation system of the"Shishi"poetry,and provided a reference for us to explore the literary and artistic innovation at the time of change.