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在中国文学批评传统中,文学总集往往富于推动当代文学典范转移的效用。清代中期学界对汉魏六朝文学文献的整理颇有成就,其中孙星衍撰辑《续古文苑》以接续《古文苑》、《文选》,有着复兴汉魏六朝骈文传统的当代文坛意义,不应仅仅视为辑佚学的成果。乾嘉时期,文坛上骈散消长之势加剧,孙星衍以汉学家兼骈文家的立场,并吸纳当时《文选》学的力量,在《续古文苑》收文体例中蕴含了个人化的骈散视野,尤其是大量入选汉唐碑碣,具有突破唐宋古文之习的用心。作为清代常州派骈文的领军人物之一,孙星衍对桐城派古文传衍之盛有所反思和忧虑,较早提出对以时文为古文的批评。《续古文苑》的撰辑与刊行,对常州派骈文风尚及当时文坛孕育新方向,有着发萌启豁的意义。
In the tradition of Chinese literary criticism, the general collection of literature is often rich with the utility of promoting the transfer of contemporary literary models. In the middle period of the Qing Dynasty, the academic circles made great achievements in the literary literature of the Han, Wei and Six Dynasties. Among them, Sun Xingyan’s “Continuing Ancient Wengyuan” continued “Ancient Wenyuan” and “Wenxuan” Only as a result of the series of lost studies. In the period of Qianjia and Jiaqing, the literary world was exacerbated by the ups and downs of its consumption. Sun Xingyan, a sinologist and clerical writer, absorbed the power of “anthology of anthology” at that time. Field of vision, especially a large number of selected monument of Han and Tang Dynasties, with the intention of breaking the ancient prose in Tang and Song Dynasties. As one of the leaders of Changzhou dispatching the Qing Dynasty, Sun Xingyan made rethinkings and worries about the ancient texts of the Tongcheng School, and earlier put forward criticisms of the prose as the ancient prose. The writing and publication of “Continuation of Ancient Manuscripts” is of great significance to Changzhou’s fiction writing style and the new direction in the literary world.