摘要
黄遵宪以“新派诗”写作开创晚清诗界新局,意义至关重要。学界对其诗风的判断多以其早年提出的“我手写我口”为基础,定位于白话诗的发展脉络中。实则“我手写我口”的核心含义并非“口语入诗”,而是强调今古融通。综观黄遵宪传世诗作之全貌,方知“以典故为诗”才是其主体风格。黄诗用典频率高、水准高,且善于以用典为枢纽,打通古典传统与近代变革的内在关联,使“新派诗”真正实现“镕铸新理想以入旧风格”的目标。这种创作方式的底层逻辑在于,用中国传统政治经验与世界认知来解释新时代、新格局、新变化,由此将“新派诗”导入“中体西用”的思维框架之中;但也存在一定的思想风险,一方面潜藏着对复古思维模式的依赖,另一方面也限制了黄遵宪获得进一步思想解放的可能。将黄遵宪放置在整个清诗发展进程中考察,会发现他将传统的用典技艺与新时代的思想追求相结合的做法,为清诗塑造了一种独特而自足的特质,也为其完成了厚重而璀璨的谢幕。
Huang Zunxian pioneered a new direction in the poetic circles of the late Qing Dynasty with his“New-Style Poetry”,an endeavor of vital significance.Scholarly assessments of his poetic style have often been based on his early proposition of“my hand writes what my mouth speaks”,positioning him within the development of vernacular poetry.In reality,the core meaning of“my hand writes what my mouth speaks”is not“incorporating colloquial language into poetry”,but rather emphasizing the integration of the ancient and the modern.A comprehensive survey of Huang Zunxian's extant poetry reveals that“writing poetry through allusions”is in fact his dominant style.The underlying logic of this creative approach lies in interpreting the new era,new patterns,and new changes through traditional Chinese political experience and worldview,thereby steering“New-Style Poetry”into the conceptual framework of“Chinese learning as the foundation,Western learning for practical application”(Zhongti Xiyong).However,this also carries certain ideological risks:on one hand,it harbors a reliance on retrogressive modes of thought;on the other,it limits Huang Zunxian's potential for further ideological liberation.Examining Huang Zunxian within the broader development of Qing poetry shows that his method of combining traditional allusion techniques with the ideological pursuits of a new era endowed Qing poetry with a distinctive and self-sufficient quality,bringing it to a profound and splendid conclusion.
出处
《文史哲》
北大核心
2026年第1期102-120,167,共20页
Literature,History,and Philosophy
