抒情維新：詩界革命新論

Abstract

本文旨在重探晚清詩界革命的定位與評價。胡適〈五十年來中國之文學〉認定新詩（又稱「新學之詩」，丙申、丁酉間梁啟超、譚嗣同、夏曾佑的「新詩」創作）等同整個詩界革命，並且予以「革命的失敗」之評價，歷來論者多承此說，胡適之語幾成定論。詩界革命研究大多聚焦黃遵憲詩，至此文學革命則有待五四新文學始是成功。然而，重返詩學現場，梁啟超辦《清議報》、《新民叢報》皆以情感為主調，此中之情亦是重要關鍵。 十九世紀末，梁啟超撰寫〈夏威夷遊記〉記錄太平洋的風浪，總結新詩的前行經驗，進而提出修正後的詩界革命，此是梁啟超與太平洋周旋復返的一場世紀抒情。從〈夏威夷遊記〉到〈亡友夏穗卿先生〉，正是以新詩串起近三十年的印象，由此回憶丙申、丁酉間的講學論詩，因此，失敗之論忽略新詩的具體情境，一筆抹煞新詩的抒情因緣──新詩與新學彼此鑲嵌的對話狀態。 「抒情」不唯是主觀自我的內在表現，而是與環境、知識、家國的同情共感；「維新」不只是政治理想，亦是從傳統探索現代的新思維。譚嗣同詩如其人，三十前後的詩學轉變體現其心路歷程，情──詩──學是相互共融的生命體驗。梁啟超以「筆鋒常帶情感」自述其「新文體」，情感詩學不必待至1920年代，而應追溯自〈夏威夷遊記〉。夏曾佑作詩「從不留稿」，錄詩不多，梁啟超評其詩「深情無限」，〈亡友夏穗卿先生〉亦憑依新詩追憶故友。綜合以上，新詩乃至於詩界革命，不只是詩學的新探索，同時是抒情的切身實踐。

This thesis aims to re-evaluate “revolution in poetry” in the late Qing Dynasty. Hu Shih wrote Fifty Years of Chinese Literature in 1922, he identified the “new poetry” (It was also known as “new knowledge poetry”, which Liang Qichao, Tan Sitong, Xia Zengyou wrote during 1896-1897) as the whole “revolution in poetry”, and gave a negative review: “the failure of revolution”. Many scholars followed Hu Shih's perspective, most of the researchers focused on Huang Zunxian, so the literary revolution was successful until the May Fourth Movement “new literature”. However, when we returned to the poetic scene, Liang Qichao founded The China Discussion and Sein Min Choong Bou, which were mainly based on emotional tone. Therefore, “emotion” was also an important key. At the end of the 19th century, Liang Qichao wrote Hawaii journal to record the waves on the Pacific Ocean, he summarized the experience of the “new poetry”, and then proposed the revised “revolution in poetry”. That was the lyrical, yearning for the new century between Liang Qichao and the Pacific Ocean. From Hawaii journal to Deceased friend of Mr. Xia Zengyou, he discussed the “new poetry” and string the impression of nearly 30 years, recalling the memory during 1896-1897. As a result, who had a review of “the failure of revolution” ignored the specific situation of the “new poetry”, which was lyrical fate, a dialogue state constituting “new poetry” and new knowledge. “Lyrical” is not only the inner expression of the subject, but also the sympathy of the environment, knowledge and country. “Reform” is not only a political idea, but also a new way of exploring modern thinking from tradition. Tan Sitong’s poetry, before and after his thirty years old, the poetic transformation reflected his mental journey. His life experience was mutually integrated with emotion, poetry, and knowledge. Liang Qichao described his “new style” as “I often write with emotions”, emotional poetics was not having to wait until the 1920s, we should go back to reading Hawaii journal. Xia Zengyou's works “were seldom left”, Liang Qichao commented on his poetry “deep infinity”. In Deceased friend of Mr. Xia Zengyou, he also reminisced about his friends by the “new poetry”. In conclusion, the “new poetry” and even “revolution in poetry” was not only the new exploration of poetics, but also the actual practice of the lyrical.