「同光魁傑」沈曾植在武昌幕中的詩文、活動與內心世界

The Poetry, Activities, and Inner World of Shen Zengzhi at the Wuchang Mufu

同光體詩為中國古典詩史的絢爛終章，名家輩出。此風之興，一方面繼承了道光、咸豐年間以來之時尚，也有晚清詩人對變風、變雅的需求。其中，沈曾植於光緒二十四年（1898）來到湖廣總督張之洞武昌幕府，與陳衍、鄭孝胥的唱酬論詩，聲氣相求，一向被視為同光體――宋詩運動的關鍵時刻。本文嘗試指出，以布赫迪厄（Pierre Bourdieu）的視野看來，武昌幕府是一個包含於權力場域中的文學場域，沈曾植因丁憂離京，迫於生計來此，期間的一舉一動，包括詩歌實踐，莫不與外來客的生存心態相關，為了累積文化資本，力爭上游，他意外成就了文學史上一段大事因緣。
沈曾植在詩歌上的移步換形，讓他勉強佔得一席之地。光緒二十六年（1900），義和團事件爆發，沈氏終於找到政治實踐的契機。鷦鷯一枝，屈指三年，他由京師士大夫領袖、地方書院史學教席，搖身一變為江上說客，不只改寫了詩史，更進一步介入國史，乃至決定一己的晚年行止。

The Tongguang style represents the magnificent conclusion of traditional Chinese poetry, and it is marked by the emergence of many outstanding poets. The rise of this style was driven by the trends and demands of the mid-to-late Qing dynasty. In 1898, Shen Zengzhi became a member of Zhang Zhidong’s staff at the Wuchang mufu, exchanging and discussing poetry with Chen Yan and Zheng Xiaoxu. Their camaraderie and shared spirit are often regarded as a significant moment for the Tongguang style. This article seeks to demonstrate, from Pierre Bourdieu’s perspective, that Zhang Zhidong's staff formed a literary field embedded within a field of power. Driven by financial pressures, Shen Zengzhi joined this group, and his every action, including his poetic practices, was closely tied to the survival mindset of an outsider. His involvement not only influenced the history of poetry but also had a profound impact on national history and even shaped the course of his later life.