清代詩壇的折中思維與其創意論述

A Discourse on the Compromising Thoughts and Originality of the Ch’ing Poetry

清人以「自成其本朝之詩」、「自成其本人之詩」自許，期將創作和理論邁向傳統詩學的另一繁榮境地。唯因明人的各立門戶，黨同伐異，造成詩壇之偏勝對立，因此在詩學的繼承與取法對象方面，清初的批評家大皆不主一格，兼取眾長，而在審美趣味的理論思維方式，則採行融合唐、宋的路線，帶有明顯的「折中」趨尚，雖然時代的文化風尚如此，但也因其立身處世的價值取向、自覺的美學思想或與時推移之審美趣味的差異，而各有其心領神會的創意論述，即援數人以見其大概。

Ch’ing Poets demanded themselves to have their own style in poetry and expected prosperity in poetic writings and theories. Because of the partisanship among the Ming poets, the poetic critics of early Ch’ing was the opinion that one should not imitate only one kind of style and should learn about the poetry of T’ang and Sung Dynasties. Although this attitude was the ethos of Ch’ing, it had its own aesthetics and creativity. In this paper, I shall take a few poets as examples to illustrate this trend.