摘要
处在儒士与文人之间的汪中,生前没有以"四六"或"骈体"之名获得赞赏,也没有留下骈文批评话语。去世后,其骈文虽获得了某些赞誉,但多与其古文、诗歌并列,或与胡天游、洪亮吉、袁枚等并举,并无独尊地位。在骈文意识高扬和创作中兴的乾隆时代,汪中对骈文无动于衷,正是他为文不专一体的结果。其文多以四言行文,少用六言,句式整齐却不求工整对偶,基本不用四六隔句对;语言精炼,骈散兼行;意蕴深厚,风格雅洁,具有东汉魏晋之文的特征。在乾嘉时代,这种文章不被视为骈文正宗,因而较少入选当时的骈文选本。道咸以来,随着骈散兼行、骈散交融思想的深入,汪中的骈文地位才逐渐提高,但极少独尊。然而,建国后的中国文学史和骈文史,绝大部分将其视为清代骈文成就最高者,赋予其独尊地位,个中原因值得反思。
In a position between a Confucian anda literatus,Wang Zhong neither gained any appreciation for parallel prose,nor left any critiques on parallel prose during his lifetime.After his death,although his parallel prose gained some recognition,these works were mostly juxtaposed with his ancient prose and poems,or with parallelprose written by Hu Tianyou,Hong Liangji,Yuan Mei,and others,and never held a dominant position.In the reign of Emperor Qianlong,when the sense for and creation of parallel prose were high,Wang's indifference to parallel prose was just the result of his scattered style in writing.His writings were often four-character but seldom six-character sentences,regularly phrased yet ignoring neat antithesis,and four-and six-character antithesis to every other line were barely used.His language was quite refined,his writings combining parallelism and prose,featuring the deep meaning and elegant style of prose popular in the Eastern Han,Wei,and Jin Dynasties.This kind of prose was not regarded as orthodox for parallel prose,so his writings were rarely selected in collections of parallel prose at that time.From the reigns of Emperors Daoguang and Xianfeng,however,with a deepening trend of combining and integrating parallelism and prose,Wang's renown in parallel prose gradually increased.However,most works of history of Chinese literature and parallel prose written after 1949 regard Wang's parallel prose as supreme in all the Qing Dynasty,bestowing on him the dominant position.The reasons for this change deserve our reflection.
出处
《文史哲》
CSSCI
北大核心
2016年第1期84-93,166-167,共10页
Literature,History,and Philosophy
基金
霍英东教育基金会
国家社会科学基金项目"晚清骈文研究"(14BZW077)的资助
