摘要
本文以20世纪20年代的刘永济为中心,以"学衡"这一宽泛意义上的学术共同体为参照,以《湘君》与《学衡》的离合为焦点,旨在揭示刘永济的辞章家风范。刘永济之于《学衡》,始终扮演支持者、追随者的角色;而在《湘君》的话语空间中,他则有着更为自主的文化姿态。《湘君》与《学衡》一重创作、一重学术的差异,刘永济等的清高自持与吴宓等的斗士风范的差异,有助于我们亲切把握刘永济作为辞章家的气质。
This paper aims to reveal Liu Yongji's litterateur temperament by analyzing the separation and reunion of Xueheng and Xiangjun,and by focusing on Liu Yongji's activities in the 1920 s with reference to an inclusive definition of the academic community of Xueheng.In terms of Xueheng,Liu Yongji's role was always a supporter and a follower.In contrast,he adopted a more independent cultural attitude in terms of his discourse for Xiangjun.Unlike Xiangjun,which paid more attention to literature,Xueheng valorized academic research.Unlike Liu Yongji's high-hearted pride,Wu Mi's style was much more like one of a fighter.These differences reveal Liu Yongji's litterateur temperament.
引文
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(1)按《刘永济先生年谱》1922年载:“5月,经梅光迪、吴宓介绍,为《学衡》杂志社撰文,无稿费,但非《学衡》社员。”参见:刘永济:“诵帚词集云巢诗存附年谱传略”,载《刘永济先生年谱》,徐正榜、李中华、罗立乾编(北京:中华书局,2010年),第270页。
(2)按吴宓多次向刘永济、吴芳吉等人催稿。如1923年4月6日写给吴芳吉的书信中谓“宏度兄之词,已尽登,乞速续寄”。参见吴宓:“致吴芳吉(七)”,载《吴宓书信集》,吴学昭编(北京:生活·读书·新知三联书店,2011年),第92页。
(3)“松琴龙”即粤西词家龙继栋(1845年—1900年),字松岑,一字松琴,号槐庐,广西临桂人,清道光年间状元龙启瑞之子,著有《槐庐词学》。