“吴中七子”的诗学取向与乾嘉诗坛关系探论

The Relationship between the Poetic Orientation of“the Seven Great Poets of Jiangsu”and the Trend of Poetry Circle during the Qianlong and Jiaqing Periods

“吴中七子”是乾嘉时期重要的诗人群体,其诗学大体呈现出早年宗唐,中途不同程度沾染宋调,后期复返唐音三个阶段。他们主张分体论诗,取法对象以杜、韩、苏、陆等唐宋大家为宗,阅读学习对象下及标举雅正、融合唐宋之长的明清大家,视野开阔,在明清诗学大家的经典化接受上有较重要的贡献。这种取向同乾嘉时期唐宋诗学渐趋融合的背景有关,无论是中途的取法宋调,还是晚年的重返唐音,均是“吴中七子”面对诗坛风气变化及现实弊病作出的调整,有着较强的现实关切。梳理“吴中七子”的诗学取向,有助于完整理解乾嘉诗坛的多重面向。

“The Seven Great Poets of Jiangsu”were an eminent group of poets during the Qianlong and Jiaqing periods of the Qing dynasty.They modeled on Tang poetry in their early years,later learned from Song poetry to a greater or lesser degree and finally returned to the Tang.They advocated poetic commentaries in separate styles,taking Du Fu,Han Yu,Su Shi,Lu You and other famous poets in the Tang and Song dynasties as models.They also read and learned from famous Ming and Qing poets who emphasized elegance and integrity,and integrated the strengths of Tang and Song masters,contributing to the acceptance of famous poets in the Ming and Qing dynasties.This trend was related to the fusion of Tang and Song poetics during the Qianlong and Jiaqing periods,which also embodied the poetic orientation of“the Seven Great Poets of Jiangsu”in face of the changes in background and atmosphere,which reflected a strong practical concern.Sorting out the poetic orientation of this group helps fully understand the multiple aspects of the poetry circle during the Qianlong and Jiaqing periods.