清晚期（1821-1911）汉魏六朝诗歌选本研究 = A study of poetry anthologies of the Han, Wei and six dynasties in the late Qing period (1821-1911)

• Main Author: 钱昊 Qian, Hao
• Other Authors: Qu Jingyi
• Format: Thesis-Doctor of Philosophy
• Language: Chinese
• Published: Nanyang Technological University 2022
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/154751
• Institution: Nanyang Technological University

诗歌选本既包含对诗歌的鉴赏，亦包含对诗人的定位，还包含对时代诗风的体认，是一种综合性的诗学批评形式，是选家书写诗学史的载体。在宋代以后的诗歌接受史中，唐、宋诗之争常常被视为一条重要的线索。然而，尊崇汉魏六朝诗歌的思潮亦一直翻涌不息。清代是选本大兴的时代，本文立足于对清晚期（1821-1911）汉魏六朝诗歌选本的个案分析、对比研究，呈现出诸选家的选诗旨趣及汉魏六朝诗学观。并结合清代文学思潮的发展变迁，探讨汉魏六朝诗歌选本与文学思潮的离合。 第一章论述魏源《诗比兴笺》对汉魏六朝诗歌的选钞。第一节剖析魏源的选诗旨趣。主要有三个方面：尊崇五言、兼取各体的诗体观；青睐取法《诗经》、《楚辞》之诗；关注汉魏六朝诗歌之间的相互勾连。第二节对魏源的诗学考索与创见予以观照。魏源将《古诗十九首》的作者划分为枚乘、傅毅和无名氏，而未将《古诗十九首》合在一处选钞，呈现了一种学术判断。西晋陆机提出“诗缘情而绮靡”的诗学观念，魏源赞同“诗可缘情”，但对绮靡诗风甚为不喜，《诗比兴笺》中亦无陆机及南朝宫体诗作。第三节是有关《诗比兴笺》“诗文互渗”选、评方法的探讨，《诗比兴笺》选入陶渊明《闲情赋》这一非诗作品，魏源因《闲情赋》长于比兴且并祖《诗》、《骚》而将其选入。《诗比兴笺》与魏源所编另一部文学选本《皇朝经世文编》在经世思想上形成会通，魏源将两位隐遁诗人阮籍、陶渊明视为仁人志士，大力标举他们的用世之志，这是魏源于晚清变局中积极主张经世致用所致。 第二章论述曾国藩、吴汝纶师徒选钞汉魏六朝诗的诗学实践，以《十八家诗钞》与《汉魏六朝百三家集选》两部诗选为中心说明曾、吴二人对桐城诗学的中兴与巩固。第一节回溯曾国藩《十八家诗钞》的成书过程，并探讨其中汉魏六朝六家诗的选诗旨趣。《十八家诗钞》独尊五古，所选诗歌均为五言古诗。曾国藩亦在选诗时引入“全选之选”的选诗手法，将阮籍八十二首咏怀诗悉数选入。咏物诗的入选亦是《十八家诗钞》的一大特色，体现出曾国藩对南朝诗歌新变的熟稔。第二节考述曾国藩中兴桐城诗学之功，他以“经济”改造桐城义法，削弱选本的卫道色彩，并提出富于创见的“机神说”，振起了自姚鼐以后日渐衰微的桐城诗学。第三节是对吴汝纶《汉魏六朝百三家集选》的论述。指出是部选本对张溥《汉魏六朝百三家集》及曾国藩《十八家诗钞》均有沿袭及革新。第四节将曾、吴二人选本置于桐城诗学脉络中予以论述。曾、吴二人通过选诗实践，重新拾起了早期桐城派诸家对汉魏六朝诗的青睐，扭转了桐城诗学门径渐窄的局面。使桐城诗学在中兴之后得到了较长时间的巩固。 第三章是对王闿运及其《八代诗选》的论述。第一节论述王闿运生平及“八代”概念之流衍，王氏于青年时即学有所成，在短暂加入曾国藩幕府后即离开，后辗转于四川、湖南多地书院。“八代”概念西晋已有之，到苏轼时“八代”基本与汉魏六朝重合，明清时期诸多选本均以“八代”指称汉魏六朝。第二节探讨王闿运《八代诗选》的选诗旨趣。王氏对汉魏六朝诗体的演进及历史分野深有体认，他从五言诗中掘发出五言新体，又以“杂言”、“杂体”为两类全然不同的诗体。王闿运在交游中与曾国藩只有短暂的交集，在诗学观念上也与曾国藩有着明显的不同，他们勾勒汉魏六朝诗史的方式迥异。第三节论述王闿运对汉唐诗歌演进史的书写。王氏为延续汉魏六朝诗统而编纂《唐诗选》，在选钞唐人诗歌时往往能对唐人沿袭汉魏六朝之处予以掘发。第四节对王闿运本人诗作承袭汉魏六朝诗风的一面予以考察。王氏或拟汉魏六朝大家名作，或以汉魏六朝诗人为咏古或用典的对象，力图在诗歌创作中呈现汉魏六朝遗韵。 第四章是对清晚期蒙学选本选钞汉魏六朝诗的论述。蒙学选本是选本中的一个特殊门类，其面向的读者皆为学童，该类选本最能承载选家的诗教观。第一节论述李元度《小学弦歌》。李氏热衷于蒙学选本的编纂，其《小学弦歌》专注于诗歌一体，将历代诗歌分为“教”、“戒”、“广”三类予以选钞，所选汉魏六朝诗歌数量不多，但能够见出李元度“教甚于戒”、“孝在忠前”和兼顾诗史小家的选诗旨趣。第二节对王维举、王绳祖《诗鹄》予以观照。二王声名不显，但《诗鹄》一书质量颇高，二王通过选钞呈现出以汉为宗、对大家取舍有致以及重视童谣的选诗旨趣。第三节是《小学弦歌》与《诗鹄》诗教观之对比。《小学弦歌》偏重于道德教化，《诗鹄》则偏重于让学童学习诗艺，二者的诗教观可用“诗教”与“教诗”来概括。 第五章从地域性视角观照清晚期汉魏六朝诗歌选本，对富于地域色彩的选本予以重点论述。第一节回溯地域性诗歌选本的早期确立及汉魏六朝诗在其中的呈现。地域性诗歌选本肇端于两宋，此时地域性诗歌选本已有比较丰富的形态，但宋代选本尚不曾将选眼光投向汉魏六朝诗。到清中期，广东、江苏等地的诗歌选本已有一定数量的汉魏六朝诗入选。一些选家能够观照女性诗人，难能可贵。第二节是对选本中六朝故地诗人群像式呈现的考察。清晚期地域性诗歌选本对汉魏六朝诗的选钞力度较之前代有所提升。两部分别围绕南京、越州的诗歌选本朱绪曾《金陵诗徵》及沈复灿《山阴道上集》汇集了两座六朝重镇的诸多诗人，呈现出都城南京及名邑越州的诗坛风貌。第三节是对“大家总领式”选本的论述。重点考察了《上虞诗选》及邓显鹤《沅湘耆旧集》两部选本，它们选钞的汉魏六朝诗并不多，但分别以六朝诗人谢灵运及罗含、阴铿总领全书，体现出选家对汉魏六朝大家总领地域诗歌传统的体认。第四节论述《遵义黎氏古诗钞》。指出是部选本所选诗人、诗作地域性不强，但呈现出遵义地方名门望族以诗歌选本教育子弟的诗学实践。 第六章是本文总论。结合清代文学思潮的发展演变探讨清晚期汉魏六朝诗歌选本与文学思潮的离合。第一节论述清晚期汉魏六朝诗歌选本与“经世致用”思潮之关系。龚自珍、魏源得经世致用风气之先，魏源《诗比兴笺》选汉魏六朝诗及唐诗都能从经世致用的角度出发。而曾国藩则以政坛、文坛双重高位将经世风气推向高潮，其《十八家诗钞》亦在选汉魏六朝诗及唐诗时注重阐发一些诗人的用世之志。但到吴汝纶、王闿运时，选本中的经世观念渐渐退场。“经世观念”在选本中由振起到衰微与选家政治地位、新媒体的登场以及诗界、小说界革命息息相关。第二节论述清晚期汉魏六朝诗歌选本与个性思潮之关系。清前中期，个性思潮因文网的收紧而受到压抑，但汉魏六朝诗却因统治者的忽视而走脱于文网桎梏，一些选家以汉魏六朝诗歌选本作为呈现个性的载体。到清晚期，随着朝廷政治及诗学权威的衰落，选家在汉魏六朝诗歌选本中更得以尽情呈现个性，为选本注入了更多个性色彩。 Poetry anthology contains the connoisseurship to the poetry, the appreciation to the poets and also the recognition of the poetic style of an era. It is a comprehensive form of poetic criticism as well as a method of writing poetic history. Ever after Song dynasty, the controversy of pro-Tang poetry and pro-Song poetry became an important thread of poetic reception history. Nevertheless, the reverence of poetry of Han, Wei and Six dynasties were always existing and not insignificant. The editing of poetry anthologies prospered in Qing dynasty. This thesis is going to unearth the anthologists’ purports of selecting poems and their poetic view of poetry of Han, Wei and Six dynasties, based on case analysis and comparative studies of anthologies of Han, Wei and Six dynasties in Late-Qing period(1821-1911). Furthermore, this thesis will discuss the unification and separation between the anthologies and the ideological trend of Qing dynasty. Chapter 1 is a study of Wei Yuan’s Shi Bi Xing Jian. Section 1 discusses the purports of selection of Shi Bi Xing Jian which can be separated into three parts. Firstly, Wei Yuan valued five-characters poetry the most while he also showed his favour to poetry of other styles. Secondly, Wei Yuan cherished those poems which followed the footsteps of Shijing and Chuci. Thirdly, Weiyuan paid attention to the binds and links of diiferent poems of Han, Wei and Six Dynasties. Section 2 observes the poetic textual crictics and viewpoints of Wei Yuan. Wei Yuan thought that the authors of Nineteen Old-style Poems should be divided into three groups, namely Mei Cheng, Fu Yi and anonymous. Wei Yuan partly agreed Lu Ji, a literary theorist in West Jin with his point of view “poetry is based on mood and showed in extravagant and splendid style ”. Wei Yuan did not like such style but admitted that poetry come out from one’s mood. As a result, he did not select Luji’s poems and palace pomes of Sothern Dynasties. Section 3 focuses on the figures of selection and comment by the interpenetration of poetry and prose. Wei Yuan seleted a non-poetry work in Shi Bi Xing Jian, that is Tao Yuan Ming’s Xianqing Fu. Wei Yuan thought this work is skilled at the method of Bixing and it follows both Shijing and Chuci. Shi Bi Xing Jian also shares the similar literary views as Wei Yuan’s another literary anthology: Anthology of Imperial Dynasty’s Articles of Statecraft（Huangchao Jingshi Wenbian） in the ideology of statecraft. Wei Yuan regarded Ruan Ji and Tao Yuan Ming, the two hermits as lofty and upright intellectuals for he valued statecraft in the change of age in late Qing period. Chapter 2 is a study of Zeng Guofan and Wu Rulun, the master and apprentice’s practice of portry selection. Zeng and Wu respectively resurged and consolidated Tongcheng poetics by their works---Anthology of Eighteen Poets and Selected Anthology of 103 Masters of Han, Wei and Six Dynasties. Sections 1 recalls the editing of Zeng Guofan’s Anthology of Eighteen Poets. Then unearths the purports of its selection. Zeng Guofan only seleted five-characters poetry for he worshiped this style the most. He adopted a mrthod of “full section” when selecting Ruan Ji’s Poems of Sorrow. He also selected object-chanting poems which shows his familiarity of the development of poetry in Southern dynasties. Section 2 discusss the efforts of Zeng Guofan to resurge Tongcheng poetics. He filled statecraft into the tradition ideology of Tongcheng poetics, impaired the moral-oriented principle of editing anthology, and also raised up the theory of ingenious and charm. Thereout, he prosperd Tongcheng poetics from the declining after Yao Nai’s death. Section 3 focues on Wu Rulun’s Selected Anthology of 103 Masters of Han, Wei and Six Dynasties. This anthology shows inheritance and innovations from Zhang Pu’s Anthology of 103 Masters of Han, Wei and Six Dynasties and Zeng Guofan’s Anthology of Eighteen Poets. Section 4 puts Zeng and Wu’s anthologies in to the trend of Tongcheng poetics. Zeng and Wu recaptured the appreciation of poetry Han, Wei and Six dynasties as those scholars in Earlier Tongcheng School. They expaned the horizon of Tongcheng poetics which made Tongcheng poetics gained viatality for a long time after its resurgrnce. Chapter 3 is a study /of Wang Kaiyun and his Anthology of Eight Dynasties. Section 1 introdeces the life of Wang Kaiyun.and the concept of “Eight dynasties” Wang achieved in study when he was a youth. He once joined Zeng Guofan’s office but left very soon. Later he host some academies in Sichuan and Hunan. The concept of “Eight dynasties” can be traced back to West Jin, and in the era of Sushi, “Eight dynaties” was nearly the same as Han, Wei and Six Dynasties. In Ming and Qing, many anthologies use “Eight dynasties” to refer Han, Wei and Six Dynasties. Section 2 is the purports of selection of Anthology of Eight Dynasties. Wang Kaiyun paid accurate attention to the development of poetry style. He separated new style five-characters poetry from the traditional one. And he gave different difination of “Missllaneous Words” and “Missllneous Style”. Wang Kaiyun had short interaction with Zeng Guofan, which made his poetic views quite different from his former leader. The method of outlining the poetic history was very disctinctive between Wang and Zeng. Section 3 is a discuss Wang Kaiyun’s Writing of poetic history from Han to Tang. He edited Anthology of Tang Poetry to show the continuation of the poetic core of Han, Wei and Six dynaties. He often pointed out those influence of tradition poetry in the works of Tang. Section 4 focues on the poetry compose of Wang Kaiyun, which was influenced a lot by the poetry of Han, Wei and Six dynasties. Wang Kaiyun always imitated the works of Han, Wei and Six dynasties, or use some poets as the object of chanting and allusion. Chapter 4 concentrates on the anthologies of children-eduction. This anthologies belong to a special genre for they mostly carry the poetic preaches. Section 1 discusses Li Yuandu’s Xiao Xue Xian Ge. Li Yuandu was enthusiastic in compiling anthologies of children education. Xiao Xue Xian Ge is one of his anthologies which specially focused on poetry. It divided all the poems into three groups: “preach”, “abstain” and “enlarge”. Though there are not many poems of Han, Wei, and Six dynasties, Li’s purports is reflected well in it, those are “preach is better than abstain”,”familial piety precedes loyalty ”and also “pay equals attention to poets who were not so famous”. Section 2 gives evaluaions to Wang Weiju and Wang Shengzu’s Shi Hu. The two authors were not renowned but their anthology enjoys high quality. Their selections show the purports of “modeling Han poetry”, “careful selection of famous masters ”and “valued children’s folk songs”. Section 3 is a comparison of Xiao Xue Xian Ge and Shi Hu on their views of poetic education. Xiao Xue Xian Ge focused more on the moral cultivation while Shi Hu tends to teach the rules and skills of composing poems. Chapter 5 is a study from the perspective of region. It discusses some anthologies which have high regional features. Section 1 traced the earlier establishment of this kind of anthology. It finds out in Song Dynasty, regional anthologies came to earth and genre of it shares a dversity. But there is no poems of Han, Wei and Six Dynasties in these anthologies at that time. In middle Qing, some anthologist in Guangdong and Jiangsu made their efforts to select poems of Han, Wei and Six dynasties. Some of the poems are from female poets which is very estimable. Section 2 is about the group appearance of poets in anthologies focused on the territory of Six Dynasties. Zhu Xuzeng’s Anthology of Jinling and Shen Fucan’s Anthology of Shanyin Dao shows the poetic circles of Nanjing, the capital of Six Dynasties and Yuezhou, a famous town at the same time. Section 3 focues on the “Master-Leading” Anthologies. These kind of anthology did not select many poets of Han, Wei and Six dynasties, such as Xu Gan’s Anthology of Shangyu and Deng Xianhe’s Anthology of old masters of Hunan but they respectively put Xie Lingyun, Luo Han and Yin Keng at the start of all the contents, which shows high respect of poets of Han, Wei and Six dynasties. Section 4 discusses Anthology of Zunyi Li’s Famaily. This anthology does not contains many regional poets or poems. But it shows the poetic parcatice of cultivating offsprings by compiling anthology of a big family in Zunyi. Chapter 6 is the general summary of this thesis. It discusses poetry anthologies of Han, Wei and Six dynasties in late Qing period under the background of the development of ideological trend of Qing dynasty. Section 1 discusses the relation between the anthologies and the atomsphere of statecraft. Gong Zizhen and Weiyuan were the pioneer to promote this atmosphere. Wei Yuan’s Shi Bi Xing Jian selects Han, Wei and Six dynasties as well as Tang poems from a perspecrive of statecraft. And later Zeng Guofan pushed the atmosphere of statecraft to a climax by his high status of politics and the circle of literature. His Anthology of Eighteen Poets also unearthes some poets’s ideology of statecraft. When it turned to Wu Rulun and Wang Kaiyun’s times, the ideology of statecraft gradually faded. The rise and degradation of statecraft were closely bound to the political status of the anthologists, the appearance of new media and the two “revolutions” of fictions and poetry. Section 2 discusses the relation between the anthologies and the ideological trend of individuality. In Early and Middle Qing period, the trend of individuality was suppressed by the cultural policy, but poetry of Han, Wei and Six dynasties escaped the shackle for the neglection of the rulers. Some poetry anthologies of Han, Wei and Six dynasties became the carrier of individuality. In Late Qing Period, with the degradation of political and poetic authority of the court, anthologists could put more features of individuality to anthologies.