中国旧体叙事诗之新变（1840-1940）

【作者】 沈从文；

【导师】 陈引驰；

【作者基本信息】 复旦大学 ， 中国古代文学， 2010， 博士

【摘要】 从1840年到20世纪40年代的这一个世纪可以说是中国历史上最为动荡不安、变动最为剧烈的时期之一,所谓“数千年未有之大变局”给这一时期的旧体叙事诗创作带来了深远的影响。随着传统中国的“天下”观念逐渐瓦解,旧体叙事诗中对中国与世界关系的认识基础从传统的“夷夏”逐渐过渡到由西方传入的近代“国别”、“种别”以至“教别”等观念,受到西方影响的“亚洲”、“黄种”等新的地理和种族“自我定位”又影响了诗人对世界与中国自身的认识,国族独立、“种族平等”成为旧体叙事诗中表现的时代精神的主流。对于所谓“西法”、“西教”则逐渐由排斥到能以相对较为平静的心态接受并加以评判。而东亚地区原有的以中国为核心的“宗藩体系”的崩溃标志着中国国势的衰微和对周边地区影响力的下降,中国诗人笔下相关题材的叙事诗往往感慨国势,向往“复兴”；在19世纪末宗藩体系崩溃、近代东亚国际秩序初步形成之后则大多倡导“东亚团结”。国族意识同样让诗人积极关注台湾等落入异国之手的中国土地和南洋华侨等迁居海外的华夏同胞的遭遇。“诗史”意识是传统叙事诗创作中的重要概念,随着社会的变革,旧体叙事诗的题材范围扩展到了列强侵略、国内政局、国际风云等国内外时事,其表现手法呈现出多元化的面貌,对时事政治的表现也有所发展和深化。在“殷鉴不远”的心理影响下,对缅甸、印度以至波兰、犹太等国家民族“亡国之苦”和日本、土耳其等国“复兴”的关注也成为了叙事诗的重要题材。社会的激烈变革所带来的各种新旧道德观的冲突交糅也让旧体叙事诗呈现出格外复杂的面貌。某些诗人试图维护“君臣之伦”等传统道德观以期拯救“世道人心”乃至国家社会、却不免与社会发展的大趋势背道而驰。与此同时,诗人的个体意识得到了前所未有的发展,叙事诗对个人生活的方方面面以及亲情等个人情感的表现也更为真切细腻。而在多元化的社会背景和个性伸张的前提之下,不仅不少诗人借叙写“烈女”等人物来试图维护传统道德观和社会秩序,另一些诗人也开始对所谓“奇女子”乃至妓女、优伶等等传统道德轨范之外的人物给予特殊的关注。诗体对诗歌的内容、形式、语言等方面都发挥着不可忽略的“规约”作用,乐府歌行集中体现了近代叙事诗为了努力实现“创新”与“尊体”两大往往互相冲突的要求而在力求保持传统诗歌基本精神的同时引入新语汇、新手法的种种尝试。“长庆体”作为有特定题材特色和情感基调的诗体,适应了近代诗人表达“兴亡之感”的需要。近体组诗除了以“以诗存史”为主要目标的“纪事诗”之外,主要以结合叙事与抒情为主,其中的大量佳作固然可以达到“情事交融”的境界,然而篇幅、语汇、声律等方面的局限也使得它不可能像乐府歌行等诗体那样对近代现实有较为详尽深入的表现。而竹枝词作为以风土人情题材为主、质轻形杂的特殊绝句形式,在近代也出现了“洋场”、“海外”两大新题材。它们共同造就了从1840年到1940年代百年间旧体叙事诗求新求变、异彩纷呈的盛况。更多还原

【Abstract】 The century between 1840 and the 1940s was one of the hardest and most radically changing eras in Chinese history, which had greatly influenced the classical narrative poetry written during this period.As during the 1800s the traditional ideas of the world in ancient Chinese civilization were eventually replaced by the idea of "modern world system", which was invented and developed by Westerners from 1500s to 1700s, the ideas about the world and the self-identification of the Chinese people expressed in narrative poetry in traditional styles was composed of a lot of western geographical, ethnical and racial terms such as "Asia" and "Mongolian race". Modern nationalism became a great influence on the poets of this period. They also began to regard the western civilization and Christianity as inevitable for Chinese society. As the tributary system in ancient East Asia eventually collapsed during the 1800s, the facts and ideas of a new international order in East Asia and the life of Chinese people under foreign authorities were also considered important in classical narrative poetry composed between 1840s and 1940s."Poetry as History" is one of the most significant ideas in traditional Chinese literary criticism. As for the narrative poetry in traditional styles composed between 1840s and 1940s, it usually refers to the expansion of contents and literary techniques. The poets also began to write about the rises and falls of the other nations such as Turkey and Japan.The radical changes and fatal clashes of morality and values in modern China were also an important part of the contents of the classical narrative poetry. Some poets wanted to keep the traditional society and ethics completely, which was determined to fail. The poets also began to describe the life and destiny of some communities which was condemned in traditional society such as courtesans and actors.Poetic styles always define the contents and methods of expression greatly in classical Chinese poetry. Yuefu was comparatively freer in vocabulary and contents, which made it the main style in the "Revolution of Poetry". Changqing Style, however, was more exclusive to new words and themes, which prevent it from the exact expression of reality. This problem was more evident in the Recent Style poetic cycles, which urged the poets to find other methods such as adding notes or introductions to solve this problem.更多还原