魏源澳港纪行诗的文学与文化新变  

On the Literary Innovation and Cultural Spirit of Wei Yuans Travel Poems in Macao and Hong Kong

作　　者：吴怀东[1] 胡晓博 WU Huaidong;HU Xiaobo

机构地区：[1]安徽大学文学院,安徽合肥230039

出　　处：《安徽大学学报（哲社版）》2024年第1期48-55,共8页

基　　金：教育部古委会直接资助项目“《诗比兴笺》校疏”(1202)。

摘　　要：魏源为修订《海国图志》收集资料而作中国澳门、中国香港之游,留下了《澳门花园听夷女洋琴歌》《香港岛观海市歌》。这两首诗比较真实、客观地描述了“夷”人生活的富足与文化的优雅,表现出全新的文化立场,是《海国图志》杰出的“副产品”。魏源借鉴游仙诗传统,采用政治隐喻的方式,表达其深沉的政治关怀,开近代海外游记之先声。这种文学实践源自魏源的政治革新立场、今文经的学术思路和强调“比兴”寄托的文学观念。这两首《歌》的创新性实践是梁启超、黄遵宪后来发动“熔铸新理想以入旧风格”的“诗界革命”之先声。To revise An Illustrated Introduction to Foreign Countries(Hai-kwoh Tu Chi),Wei Yuan made a travel of Macao,china and Hong Kong,china to collect materials and wrote two poems entitled“Listening to Foreign Lady Playing Piano in a Macao Garden”and“Watch the Mirage in Hong Kong Island”.These two poems are a realistic and objective description of the affluence and elegance of foreigners,a new cultural stance that is an outstanding“by-product”.Wei Yuan drew on the tradition of poetry about immortals and used political metaphors to express his deep political concern,pioneering in the composition of modern overseas travelogue.This literary practice stems from Wei Yuans political revolutionary stance,his academic thinking on the New Text Confucianism and his literary concepts that emphasize“Analogy(Bi)and Association(Xing)”.The innovative practice of these two poems was the precursor of the“Poetic Revolution”initiated by Liang Qichao and Huang Zunxian,who asserted“melting new ideals into the old style”.

关 键 词：魏源 《澳门花园听夷女洋琴歌》 《香港岛观海市歌》 游仙诗 现代性 

分 类 号：I206.2[文学—中国文学]