【作者】 王启芳；

【导师】 孙之梅；

【作者基本信息】 山东大学 ， 中国古代文学， 2014， 博士

【摘要】 清代诗歌创作蔚为壮观,作品卷帙浩繁,仅徐世昌《晚晴穆诗汇》一书所辑六千余家两万七千多首诗歌,而根据《全清诗》编纂委员会的初步统计,有清一代有作品传世的诗人多达十万人。在这卷帙浩繁的诗歌长河之中,桐城诗派研究在诗歌创作及其诗学理论方面得到了不同程度的发掘,已经成为近代文学研究的热点之一。然而桐城诗派在研究中也存在不容忽视的问题,如桐城诗派作为一个诗派是否成立、桐城诗派作家个案研究存在的不平衡现象、桐城诗派诗学主张的传承与创新等问题,故而在此选取研究相对薄弱、作家作品众多的晚清桐城诗派作为研究对象。本文以晚清桐城诗派成员的诗文著述为基础,借助于文学著作、史学著作、地方志及日记等文献来论述晚清桐城诗派的发展。研究目的旨在梳理方东树、姚莹、梅曾亮、朱琦、龙启瑞、王拯、曾国藩、姚溶昌、张裕钊、姚永朴、姚永概、方守彝、方守敦等人的诗学思想,在个案研究的基础之上来论述晚清桐城诗派的诗学主张,对晚清桐城诗派以及其在广西的发展有一个初步概述,从而论述晚清桐城诗派对前期桐城诗派的继承与创新,发掘晚清桐城诗派在诗学理论方面的价值。文章分为五部分进行论述：第一章从文学流派的概念、桐城诗派成员的诗歌创作及相关论述、他者的点评出发来论述桐城之为诗派的原因,从而将桐城诗派分为四个发展时期：形成期、成熟期、传承期及余绪期,并列举了各个时期的代表成员。桐城亦是一文派,其文论与诗论之间相互影响,且在学习途径和风格上有所不同。选取目前学界研究相对薄弱、作家作品数量众多的晚清桐城诗派作为研究对象,故而要确定其时间范畴及其作家群成员,在此基础上概述了晚清桐城诗派的诗学主张：强调诗歌反映诗人的真情实感、注重创作主体的自身素质、兼采唐宋、重摹仿、诗歌创作中多用典故及以文为诗的创作手法。在继承前期桐城诗学思想的基础之上,晚清桐城诗派在诗歌内容、学诗范围及诗学主张上均有所突破。正是晚清桐城诗派在诗学理论所表现出的完整性、系统性、传承性,使其亦是一诗派,这是其与同时期诗派之间最大的不同点。第二章追溯了晚清桐城诗派的诗学渊源,从钱澄之、方苞、刘大櫆、姚范及姚鼐的诗学思想出发,论述了前期桐城诗派的诗学主张,认为他们的诗学观主要体现在诗歌要反映诗人的真情、重视诗人的品德及以文为诗之上。第三章及第四章论述了道光、咸丰年间桐城诗派的发展,以方东树、姚莹、梅曾亮、曾国藩、朱琦、龙启瑞、王拯等人为研究对象,各自总结了其诗歌的主要内容、艺术风貌及诗学主张。方东树的诗作体现在“思”、“忧”、“行”上,其诗学主张为涵养本原、诗道性情、见自家面目、以文论诗及气韵说。姚莹其诗多有感而发,心中万般情,皆付笔端下,论诗贵真,讲才气,重德识,并纳经济于诗。梅曾亮诗多以体悟人生、表达个人情绪和感受为主,其论诗重真,重视创作主体的才学与品德,对苏轼、黄庭坚颇为推崇。在分析了朱琦、龙启瑞诗歌的主要内容之后,认为朱琦论诗兼采唐宋、重性情及摹拟；龙启瑞重创作主体的真性情、学识与品性；而通过分析王拯的诗歌创作认为诗歌呈现出雄浑与低沉的艺术风貌。在论述了曾国藩与道咸桐城诗派之间的关系、其诗歌创作的主要内容之后,从诗贵雄奇与气盛、唐宋兼学、重摹仿、诗缘情四个方面论述了曾国藩的诗学主张。道咸年间的桐城诗派成员受经世致用思想的影响,在诗歌创作上反映了其忧国忧民的爱国之情；同时在创作中,多用典故及以文为诗的手法。第五章论述了同治、光绪年间桐城诗派的发展,以姚溶昌、张裕钊、姚永朴、姚永概及方守彝、方守敦等人为研究对象,以个人研究为主,概括了代表人物的诗学主张。深处清朝末期的桐城诗派成员,其在诗歌创作中反映了社会的动荡及下层民众的苦难生活,展现了其忧国忧民的思想。这一时期的桐城诗学与前期的桐城诗学在诗学主张及诗学对象范围上有所发展,这主要体现在吴汝纶、姚永概的诗学主张上。最后,文章以附录的形式列出了《青鹤》中所刊登的《惜抱使湘鲁日记》,其中存有姚鼐部分佚诗；收录在方东树《仪卫轩诗集》中的管同佚诗三首以及《学风》所刊方守敦为安徽省立图书馆二十一周年纪念所为的题辞,这些材料的发现对我们了解姚鼐、管同以及方守敦的文学创作有所帮助。为了更为直观地了解晚清桐城诗派的发展历程,本文还编制了晚清桐城诗派年表,通过晚清桐城诗人的著作及相关史料、著述钩稽整理,以纪年的形式展现晚清桐城诗派发展过程中桐城文人及其友人的生平及文学活动,为晚清桐城诗派研究提供一些客观翔实的资料。更多还原

【Abstract】 The poetry of Qing Dynasty is spectacular, such as the book edited by Shichang Xu, named "WanQingYiShiHui", includes over twenty-seven thousand poems from a series of more than6,000poets. According to preliminary statistics from "Poem of Qing Dynasty" Codification Committee, as many as100,000people in Qing Dynasty poet have handed down works. In this voluminous river of poetry, the Tongcheng School has been excavated to varying degrees in poetry and poetics theory and this has become one of the hotspots of modern literature research. However, there are also questions can not be ignored in the study of Tongcheng School, such as whether Tongcheng Poetry is an established Poetry School, is there imbalances case in Tongcheng Poetry studies, inheritance and innovation of Tongcheng Poetry advocated issues. Therefore we select the late Qing Tongcheng Poetry as an object in this study, as there are plenty of writers and works, but the study is relatively weak.This study is based on the poetry of the late Qing Dynasty Tongcheng School, drawing the supports of literature, history books, diaries and other local history and literature to discuss the development of the Tongcheng School in late Qing Dynasty. We aim to sort the poetic thought of Fang Dongshu, Yao Ying, Mei Zengliang, Zhu Qi, Long Qirui, Wang Zheng, Zeng Guofan, Yao Junchang, Zhang Yuzhao, Yao Yongpu,Yao Yonggai, Fang Shouyi, Fang Shoudun et al. Then in the basis of case study, the discussion come late Qing Tongcheng Poetry poetic ideas as well as an initial overview of the development of Tongcheng Poetry in Guangxi. Finally discusses the inheritance and innovation of the early Tongcheng Poetry by late Qing Dynasty Tongchen School, exploring the value in poetics theory of late Qing Tongcheng Poetry. These will be discussed the following five sections:The first chapter will discuss why Tongcheng School is also a School of Poetry according to the concept of literary genres, poetry of Poetry Tongcheng members and related discussion, reviews from others. Thereby Tongcheng Poetry is divided into four developing stages:formation, maturity, the remainder and the renewal of tradition and cited on behalf of the members of each period. Tongcheng also have literature, the interaction between its literary and poetic, and differ in the ways and styles of learning. Select the current relatively weak academic research among the large number of writers and works of the late Qing Tongcheng Poetry as a research object, and therefore the time to determine its scope and its writers group members, on the basis of an overview of the late Qing Tongcheng Poetry Poetics proposition: Emphasis poems reflect the poet’s true feelings, focusing on the creation of the body’s own qualities, adopting both Tang and Song dynasties, heavy imitation, more widely used poetry and prose as poetic allusions creative approach. On the basis of inherited early thoughts on the poetics of Tongcheng, Tongcheng Poetry in the late Qing Dynasty poems, learning poetry and poetics advocates have scope break through. It is that Tongcheng Poetry in Late Qing poetics theory demonstrated integrity, systematic, inheritance, make it to be a Poetry, and this is the biggest difference between it and the other Poetry of the same period.The second chapter traces the poetics origin of late Qing Dynasty Tongcheng Poetry. Based on the poetic thought of Qian Chengzhi, Fang Bao, Liu Dakui, Yao Fan and Yao Nai, discussed the preliminary Tongcheng Poetry poetic assertion that their Poetic Outlook mainly in poetry to reflect the truth of the poet, the poet’s character and attention to the text of the poem above.The third and the forth chapter discusses the development of Tongcheng Poetry from1820to1860years, focus on Fang Dongshu, Yao Ying, Mei Zengliang, Zeng Guofan, Zhu Qi, Long Qirui, Wang Zheng, summed up each of the main content of their poetry, art style and poetic ideas. Fang Dongshu’s poems reflected in the "thinking","worry", the "line", which advocates for the conservation of primitive poetry, poetry Road temperament, see their own face, to say the Poetic and artistically. Yao Ying’s personal feelings, hearts worth of love, are paid under his writings and his Poetry focus on reality, talent, merit and knowledge and include economy in poetry. Mei Zengliang’s poetic insight into life and express personal emotions and feelings, its true Poetry heavy emphasis scholarship and character creation subject, quite respect Su Shi and Huang Tingjian. After analyzing the main content of Zhu Qi, Long Qirui’s poetry, we think that Zhu Qi adopted both Tang and Song Poetry and heavy temperament and simulation. Long Qirui prefer true nature of re-creation of the subject, knowledge and character. After reviewing the relationship between Zeng Guofan and Tongcheng Poetry in Dao-Xian years and the main content of his poetry, we discuss his poetic idea in four aspect, the poetry of the magnificent and fit, learn the Tang and Song, heavy imitation, poem comes from feeling. Members of Tongcheng Poetry in Dao-Xian years affected by statecraft thoughts on poetry, reflects its concern for the fate of patriotism, simultaneously on the creative approach, the use of allusions and Prose Poems.The fifth chapter discusses the development of Tongcheng Poetry in Tongzhi and Guangxu years, focus on Yao Xunchang, Zhang Yuzhao, Yao Yongpiao, Yao Yongkai and Fang Shouyi, Fang shoudun and other man-made object of study, representative summarized the poetic idea. Tongcheng Poetry members of the depths of the late Qing Dynasty, which reflects the underlying social unrest and suffering of the people living in poetry, and demonstrated its concern for the fate of nation. Tongcheng poetics in this period developed the previous Tongcheng poetic ideas on poetry and poetics target range, mainly reflected in the Yao Yongkai’s poetic ideas.In the end, the article lists in the form of an appendix including "pity hold so Xianglu diary" published on "Qing He", where there are parts of Yao Nai Los, three Lost Poems of Guan Tong included in Fang Dongshu’s "Yi Wei Xuan Poetry" and the inscription of Fang Shoudun for Anhui Provincial library twenty-one anniversary published on "Style". These findings improve our understanding of the literatures of Yao Nai, Guan Tong and Fang Shoudun. In order to develop a more intuitive understanding of the history of the late Qing Dynasty Tongcheng Poetry, we also prepared a chronology of the late Qing Dynasty Tongcheng Poetry, including the late Qing Dynasty Tongcheng poet’s writings and related historical materials, finishing works cross-check, organized in the form of the late Qing Dynasty dating. This will show the life and literary activities of Tongcheng scholar and friends in the development of Tongcheng School of Poetry, and provide some objective and accurate information to the late Qing Tongcheng School of Poetry.更多还原