现代体验的古典书写:中野逍遥汉诗的定位与再评价

Classical Form of Modern Experience Writing:the Positioning and Re-evaluation of Nakano Syouyou's Chinese Style-Poem

明治时期汉诗人中野逍遥将一种全新的"失恋"体验付诸汉诗书写,呈现出激烈的情感表达与语法突破,同时期的评论家多将其视为对汉诗传统的背离,并与当时的新体诗相提并论,这一观念也在此后日本学者的研究中得到继承.然从文本、典故、命题、语法等层面来看,逍遥的书写并未脱离古典诗歌体系的框架,而是以香奁体的形式构成了对现代性恋爱体验的书写;又因其以中国传统文化的后继者自居,故在明治这一新旧交替的时代深感传承的责任及失落的痛苦.大町桂月等人的解读带有特定时期的西化意识形态色彩,过度强调其革新的一面而未呈现其身为汉诗人的全貌.突出逍遥诗作在古典与现代的夹缝中游离、挣扎的样态,或更能凸显其身为文学史特定时期作家的典型性与复杂性.

The Chinese style-poet Nakano Syouyou in the Meiji period put a brand-new experience of"lovelorn"into Chinese style-poem,and showed a strong temperament and a breakthrough in grammar.Many critics in the same period regarded it as a betrayal of the traditional Chinese style-poem,and compared him with the new style poets at that time.This concept has basically been inherited in the research of Japanese scholars since then.However,from the perspectives of text,allusions,creative propositions,grammar,Nakano Syouyou's writing is not out of the framework of the classical poetry system,but presenting the writing of the"modernity"love experiences in the form of xianglian style.By considered himself the successor of traditional Chinese culture,he felt the responsibility of inheritance and the pain of loss in the Meiji period.The interpretation of Oomachi Keigetsu and others shows the ideological color of"Westernization"in a specific period,which overemphasizes its innovative side and fails to present the full picture of him as a Chinese style-poet.By highlighting the wandering and struggling between classical and modern poetry of his poems,as a poet,the typicality and complexity of Syouyou in a specific period can be protruded.