復古餘波——唐汝詢《彙編唐詩十集》初探

Between Ming Neo-classicism and Jingling School: A Preliminary Study of Tang Ruxun’s Huibian tangshi shiji

明代詩學以復古思潮為主流，至晚明竟陵派鍾惺與譚元春《詩歸》出，風氣逆轉。失明詩人唐汝詢（1565-1659）身當其時，先後編輯選本《唐詩解》及《彙編唐詩十集》。前者乃綜合復古派所遵奉之高棅《唐詩正聲》與李攀龍《唐詩選》而成，其特色是解說詩意，為讀者打開通往詩歌世界的便捷通道；後者則以復古派之立場為基礎，正面回應竟陵派之風潮，以十集的架構顯示唐詩各種風格，容納不同的視野，也讓不同的詩觀論說在十集之內交鋒。這個彙編式的文本，其實是唐汝詢詩學認知理念的外現架構，是中國詩學論述與選本之學的嶄新形式，非常值得珍視。 Ming poetry had been dominated by Neo-classicism until the Jingling School took over in the later stage of the dynasty, marked by the publication of the anthology Shigui (A Return to Poetry) by the leaders of the school Zhong Xing and Tan Yuanchun. Facing the juxtaposition of two currents of poetics, blind poet Tang Ruxun (1565-1659) compiled firstly the anthology Tangshi jie (Explications of Tang Poetry) and then Huibian tangshi shiji (An Assorted Anthology of Tang Poetry in Ten Volumes). The former work pays tribute to two Neo-classical canons, Tangshi zhengsheng (The Orthodox Voices of Tang Poetry) by Gao Bing and Tangshi xuan (Selection of Tang Poetry) by Li Panlong, and offers an explanation of poetics that invites readers into the world of the art. The latter, on the contrary, confronts the thoughts of Jingling School by exhibiting a kaleidoscopic picture of Tang poetry in diverse styles and perspectives. The structure of this latter work accommodates disparate theories of poetics and enables conversations among them. The organizational structure of the anthology is in fact an outward projection of Tang Ruxun's unique poetics. It embodies a ground-breaking discourse of poetics and an unprecedented form in the history of poetic anthologization in China.

Ming poetry had been dominated by Neo-classicism until the Jingling School took over in the later stage of the dynasty, marked by the publication of the anthology Shigui (A Return to Poetry) by the leaders of the school Zhong Xing and Tan Yuanchun. Facing the juxtaposition of two currents of poetics, blind poet Tang Ruxun (1565-1659) compiled firstly the anthology Tangshi jie (Explications of Tang Poetry) and then Huibian tangshi shiji (An Assorted Anthology of Tang Poetry in Ten Volumes). The former work pays tribute to two Neo-classical canons, Tangshi zhengsheng (The Orthodox Voices of Tang Poetry) by Gao Bing and Tangshi xuan (Selection of Tang Poetry) by Li Panlong, and offers an explanation of poetics that invites readers into the world of the art. The latter, on the contrary, confronts the thoughts of Jingling School by exhibiting a kaleidoscopic picture of Tang poetry in diverse styles and perspectives. The structure of this latter work accommodates disparate theories of poetics and enables conversations among them. The organizational structure of the anthology is in fact an outward projection of Tang Ruxun's unique poetics. It embodies a ground-breaking discourse of poetics and an unprecedented form in the history of poetic anthologization in China.