作为清末朴学大师,俞樾在揅经释子之余兼弄词章之学。俞樾虽以学人为诗,但其诗歌创作如水流花放,自然清切,审美趋向迥异于当时学人之诗所标榜的旨趣。俞樾“随笔而书随意造,不雕不琢全吾天”的诗学主张不仅可视为性灵文学在晚清时段的嗣响独存,也可视为五四新文学运动发生的肇基先导。其诗学理论如散金片玉,言简意赅,散落于各种序论随笔之中。作为一位学无常师、左右采获的经学集大成者,俞樾的诗学理论呈现出古典文学总结期包容性的特点,对诗坛上龂龂相角的宗派纷争,他主张应摒弃宗唐宗宋的门户偏见,择善而从。如俞樾不仅强调诗歌应具有“大裘万丈”的民本关怀与忧时感事的时代责任感,同时也不菲薄纯任自然、陶写性灵的琐屑之作、缪悠之词;俞樾一方面强调“此事须知本性情,不徒词藻斗纵横”;另一方面又主张只有恪守“直而不野,丽而有则”的审美准则才能锤炼出“不求纤密之巧,自有宏肃之美”的真醇诗境。 As a Master of Pure Land in the late Qing dynasty, Yu Xun learned the philosophical and philosophical studies of Buddhism in his works. Although Yu Yu is learning to be a poem, his poetry, such as water flow and natural cut, aesthetic trend is quite different from the purport of the scholars at that time. Yu Xun’s poetic proposition that “Essays and books are free to make, Undiagnostic and complete” refers not only to the survival of spiritual literature in the late Qing Dynasty, but also to the occurrence of the May Fourth New Literary Movement Zhaoji pioneer. His theory of poetics, such as scattered gold jade, concise and concise, scattered in various preface essays. As a master of maths, the theory of poetics collected around Yu Yong shows the characteristics of inclusiveness of the classical literature, disputes over the poetic phase of the poetic sentiments in the poetic circles, and he advocated that Tang should be discarded Song prejudice portal, choose the good from. Yu Yu, for example, not only emphasized that poetry should have the sense of responsibility for the times when people are more concerned and worried about the issue of “great accomplishment”, but also make up the trifling works of nature, On the one hand, it emphasizes that “we must know this nature in the matter, not only in terms of rhetoric.” On the other hand, we also advocate that aesthetic principles that conform to the principle of “ Fragmentation of the clever, its own Wang Su beauty ”real merit.