【作者】 肖晓阳；

【导师】 罗时进；

【作者基本信息】 苏州大学 ， 中国古代文学， 2006， 博士

【摘要】 湖湘诗派是兴起于近代初期而与宋诗派相抗衡的一大诗歌流派。其代表作家“湘中五子”结为“蘭林词社”,以《骚》心《选》旨为宗,取法汉魏诗歌形式,抒发心中悲情,在近代诗坛上形成了一股浪漫主义文学思潮。湖湘诗派领袖王闿运继陆机之后提出了“诗缘情”的思想,反对“文以载道”说,在诗歌史上具有变革时代风气的意义。本文主要以湖湘诗派代表作家“湘中五子”为中心,探索湖湘诗派的精神所在,推究了这一诗派演进的过程,考察了它对文学遗产的继承和对近现代文学产生的影响。全文共八章,二十四万字,分为生成论、本体论、影响论三个部分:湖湘诗派的形成与近代文化语境密切相关,楚文化崇尚个性的精神与南方文学的抒情传统是湖湘诗派精神的源泉,晚明以来崇尚性灵的文人推崇的汉魏古诗为湖湘诗派的精神提供了寄居之所。湖湘派诗派之名,源于“汉魏派”之说,作家以崇尚《骚》心《选》旨的湖湘作家为主,代表作家有王闿运、邓辅纶、邓绎、李寿蓉及龙汝霖诸人,其他地域受其影响而濡染了楚风的诗人也包括在内。以王闿运、邓辅纶退隐衡邵及第二代诗人的出现为界,分为开创期、持续期与传承期。湖湘派诗歌情调以悲哀为主,风格趋于古艳。王闿运的“诗缘情”说、邓绎的“诗法自然”说集中体现了此派诗歌创作的主要理论主张。湖湘诗派领袖王闿运以其高才绮思抒发了人生的悲音,“湘绮笔仗”境界高远,于清绮雅洁中蕴涵悲情,语带幽怨。“蘭林词社”中邓辅纶写时世之篇与和陶之作,醇而能肆;邓绎感怀之诗、写景之篇,体现了“与古为新”的艺术追求;李寿蓉梦中诗、狱中诗、咏蘭诗,境界悠远迷濛，时出于六朝之外；龙汝霖诗歌中飘泊的孤客情怀，运用近体诗而能突破樊篱,在情感上追踪楚《骚》,在体式上则得汉魏诗歌之风神而出于汉魏之外。随着影响的扩大,湘中出现了唱和诗人群,其影响上达庙堂、深及山林,并涌现了第二代湖湘派诗人;一些湖湘派诗人宦游他乡,与异域诗人唱和,由此出现了异域湖湘派诗人。影响所及,“同光体”以宋诗对抗所谓“墨守盛唐”之论因湖湘派而发,“诗界革命”派的理想诗境与湖湘诗派论诗主张相近,中晚唐诗派、西昆体诗歌中的伤感与颓唐,也可以在湖湘诗派中找到根据,苏曼殊之感伤又为王闿运之同调。至于易代之际,其流波余韵依然绵延不绝,湘中诗歌近于浪漫的特点、江南文坛的魏晋之风、蜀中感伤诗歌的兴起都与湖湘诗派有着千丝万缕的联系。从诗歌的精神来看,湖湘派诗歌以其浓郁的抒情性形成了近代诗歌史上一个感伤诗派。近代学风之变起自王闿运,感伤诗歌的兴起也源于湖湘诗派,尽管诗歌中以新材料造新境界始于“诗界革命”派、清新而悠远的意境多见于苏曼殊诗歌中,但湖湘派诗歌作为近代诗歌史上感伤诗歌的开拓者,对近现代文学产生了深远的影响。更多还原

【Abstract】 The poetry of the Huxiang School is a poetic school that rose in the early modern times contending with the Song Poetry. Its representative poets“the Five Masters in Central Hunan Province”gathered together as“Lanlin Society of ci”. They took Li Sao and Wen Xuan as their guide and followed the form of the poetry of the Han and Wei Dynasties, expressed their feelings of sorrow, and formed a romantic trend of literary thought in the modern poetry. The leading figure of the Huxiang poetry Wang Kaiyun put forth the idea that“poetry results from feelings”as a reaction to the idea that“the function of literature is to convey the Tao”, which, in both ideology and literature, has the significance of reforming the general literary mood of the times.This dissertation centers on the representative poets of the Huxiang poetry“the Five Masters in Central Hunan Province”, and explores the spirit of this school, examines its evolution process, and inspects its indebtedness to the literary heritage as well as its influence upon the modern and contemporary literature.The dissertation consists of eight chapters, including three parts respectively concerning the origins of the Huxiang poetry, the poetry itself, and its influence.The formation of the poetry of the Huxiang school is closely related to the cultural atmosphere of the modern times. The spirit of the Chu culture’s advocating of personality and its tradition of expressing emotions inherited from the southern literature in the modern times are the sources for the spirit of the poetry of the Huxiang school; the poetry of the Han and Wei Dynasties which advocated temperament offered the dwelling-place for the spirit of this school.The name of the poetry of the Huxiang school came from the theory of the Hanwei School. The writers were chiefly the Huxiang poets who advocated taking Li SAO and Wen Xuan as their guide, the representative poets including Wang Kaiyun, Deng Fulun, Deng Yi, Li Shourong and Long Rulin as well as some poets in other places who were influenced by the literary style of Chu. The history of the poetry of the Huxiang school was divided into the flowering period, the retiring period and the inheriting period. It is predominated by a mood of sorrow, and tends to be characterized by an old and flowery style. Wang Kaiyun’s idea that“poetry results from feelings”, Deng Yi’s theory that“poetry imitates nature”and Chen Rui’s new doctrine about temperament revealed the major views of the poetry of the Huxiang school. The leading figure of the poetry of the Huxiang school Wang Kaiyun expressed his great sorrow in his poetry. Deng Yi’s lyrics and poetry on natural scenery revealed his artistic pursuits; Li Shourong’s dream poems, prison poems are sometimes better than the poems in the Six Dynasties; Long Rulin’s poems revealed his lonely feelings, and his poems took the form of the“modern style”poetry yet went beyond its restraints, followed Li SAO in feelings, and in form were influenced by the spirit of the poetry of the Han and Wei Dynasties yet superior to them.So far as the influence is concerned, the ideal poetic mood of the school of“Poetic Revolution”was similar to the poetic theory of the poetry of the Huxiang school; the sentimentalism and decadence in the poetry of the mid-and-late Tang Dynasty and that of the“Xikun”style could also be traced back to the poetry of the Huxiang school; and Shu Manshu’s sentimentalism resembled Wang Kaiyun, too.As for the spirit, the poetry of the Huxiang school, compared with the Song Poetry, emphasized the change of academic style. It, with its strong lyricism, became the historical origins of the sentimental poetry of the modern times; the change of the academic atmosphere in the modern times started with Wang Kaiyun; the sentimental tone of the poetry also originated from the poetry of the Huxiang school. The poetry of the Huxiang school, as the pioneer of the sentimental poetry in the modern history of poetry, had its far-reaching influence upon the modern and contemporary literature.更多还原