摘要
数量巨大的乾隆御制诗应被理解为受到文学观念、创作语境、预期读者三种动态机制束缚下“被动”生成的作品。首先,蒋溥密切参与了御制诗集最初的刊行活动,乾隆皇帝的文学观念正是由蒋溥引导定型,其“被塑造”的文学观念奠定了此后的御制诗创作与刊行的规程。其次,在宫廷文学语境下,作为主导者的乾隆能够限定其他参与者的写作习惯,而参与者也能够影响御制诗风的发展方向。最后,读者群体的泛化导致御制诗中出现了说教论理、知识展示、关怀农事三种写作套式,均指向了乾隆“迎合”其预期读者的心态。御制诗的持续性产出及其罕见文本特征,或许不宜完全归咎为乾隆皇帝的个人意愿与能力,而应看作是文学机制相互作用下的产物。推而广之,在清代诗歌研究领域,关注作者主动性的传统视角,几乎无法解释为何同质化作品大量出现。但通过分析各种隐性文学机制与被动的创造性,则可以开拓新的研究思路。
The huge quantity of imperial poems by Emperor Qianlong should be understood as passive works bound by three dynamic mechanisms:literary conception,compositional context,and intended audience.Firstly,Jiang Pu was closely involved in the initial publication of Imperial Poetry Collections,and the emperor's literary conception was shaped by Jiang Pu,which laid the groundwork for Qianlong's poetry composition and later publications.Secondly,in the context of court literature,Qianlong,as the dominant individual,was able to limit the writing habits of the other participants,but they were also able to influence the development of the imperial poetic style.Finally,the generalization of literary audience led to the emergence of three writing stereotypes in imperial poetry:didacticism,intellectual demonstration,and concern for agriculture,all of which pointed to Qianlong's“catering”to his intended audience.The persistent output of imperial poetry and its unique textual features may not be attributed solely to the personal will and ability of Emperor Qianlong,but rather to the interaction of literary mechanisms.By extension,in the field of the Qing Dynasty poetry,the traditional perspective of authorial initiative can hardly explain the proliferation of homogeneous works,but new research approaches can be developed by analyzing the various hidden literary mechanisms and passive creativity.
出处
《清华大学学报（哲学社会科学版）》
CSSCI
北大核心
2024年第6期77-88,232,共13页
Journal of Tsinghua University(Philosophy and Social Sciences)
基金
国家社会科学基金重大项目“中国古代都城文化与古代文学及相关文献研究”(18ZDA237)。
