摘要
清代词学久成杆格的浙西词派与常州词派在近代能走向合流,既是词学发展的必然,也与一二关键人物的倡导有关。端木埰即堪称清代词学向近代转型的一个相当重要的过渡人物。他在创作方面兼师王沂孙与姜夔,旁涉苏轼,理论上远承张惠言和周济学说,近接金伟君、祁寯藻、周之琦及其尊人的词学观念,以“浙”济“常”,以自己的创作、批点和选本,有力拓展了常州词派的理论格局,对“晚清四大家”产生了直接而深远的影响,并由此而奠定了晚清词学的基本发展方向。
The confluence of the Zhexi and Changzhou lyric schools in the modern age is not only a natural growth of lyric theories, but also the result of the advocacy of several influential persons. Du-anmu Cai is a markedly important transitional figure during this period. He learns lyric composition from Wang Yisun, Jiang Kui and Su Shi, and assimilates lyric theories from Zhang huiyan and Zhou Ji; his lyric theory is similar to that of Jin Weijun, Zhou Zhiqi and others. Using his own compositions, comments and anthology, he expanded the theoretical system of Changzhou lyric school and facilitated the growth of 'Chang' with theories from 'Zhe', which produces a direct and far-reaching impact on 'the Four Masters of Late Qing' and sets the general development direction of lyric theories in the late Qing period.
出处
《中山大学学报（社会科学版）》
CSSCI
北大核心
2004年第1期32-38,共7页
Journal of Sun Yat-sen University(Social Science Edition)
基金
教育部2003年度人文社科项目(03JB750.11-44018)"晚清与民国词学研究"成果之一。
