With The Light Of The Past And Present On The Occasion: The Late Qing Poetry Camp,

Since years of Daoguang and Xianfeng in Qing Dynasty, there has been a mainstream in the Parnassus to study and imitate the portry of Song Dynasty. The Tong-guang School did not enter its golden time until the years of Guangxu and the Republic of China, which indicated the trend of imitating Song Poetry arrived the zenith, and the end of it also indicated the terminal close of the Chinese traditional poetry. As the climax, this trend was based on the poetry of years "Yuanyou" in Song Dynasty, tracing back to the years "Yuanhe" in Tang Dynasty and the years "Yuanjia" in Six Dynasties, which not only straightened out the Poetry of Tang and Song Dynasty, "to combine the poetry from the scholar and from the bulbnl together", but also traced back to Six Dynasties, pursuing to merge the "talent", "sentiment", "learning" and "thought" together. At the same time, the poets involved in the trend above lived in the time of Late-Qing Dynasty and Republic of China when the western culture swarmed in increasingly, and were impacted by the culture from the west. Although they were much more immerged into Chinese traditional culture, they still produced the poetry different from that one before, developing a new view of tending towards the modern while still holding their traditional field. As the finality, the poetics ideality and the poetic form in this trend could not be seasoned with the change of the society yet, and the inherent form of Chinese traditional poetry that almost had no essential change for over one thousand years has already embarrassed the development of poetry, and the structure of the people's knowledge has not met the asking of the traditional poetry, so it came down unavoidably in the river of history. This dissertation is planned to study the Tong-guang School with the horizon of the spatio-temporal, according to exploring its origin and history, process of transformation, diversification of its self, theory of the poetry, producing, and the relation to the other contemporary schools, and employing the instruments of philological research and academic criticism.The introduction of this dissertation is indicated into discussing three issues, the first is to make the meaning of "Tong-guang School" and "Tong-guang style" clear. Because the Chinese traditional literature criticism is not good at clearing the concept of criticism, there is nearly no discrimination between "school" and "style", however, the literature theory introduced from the west discriminates these two concept strictly. So this dissertation employed the word "Tong-guang School", with the view of making the discussion more convenient and clear. The second is about the reason why to choose this topic, which is aimed to uncover the inimitable value of Tong-guang School in the history of Chinese literature, through putting it into its contemporary Parnassus and study it all-around. The third is to summarize the study about Tong-guang School existed, and introduce the essence of such study from the in and abroad during the 80 years briefly.This dissertation is composed of three parts, including seven chapters. In the first part, the first chapter outlines how the stream of imitating Song Dynasty Poetry grew up gradually from the Ming Dynasty to Late-Qing Dynasty——from the hard germination in Middle-late Ming Dynasty and the small-scale in the Middle-Qing Dynasty, to a mainstream in the Late-Qing Dynasty when such trend became to irreversible. ChapterⅡis concentrated to research how this school grew up and the membership of it. This dissertation holds a standpoint that the appearance of "Theory of Sanynan" declared the Tong-guang School came into being formally. In the course of its growing up and transformation, there were three centers——Wuchang, Beijing, Shanghai successively.ChapterⅢin the second part is main about the poetic theory and spirit, which lead to that the poets belonged to the Tong-guang School hoped to straighten out the Poetry of Tang and Song Dynasty, pursued to merge the "talent", "sentiment", "learning" and "thought" together perfectly, and produced the poems rooted in that time and marked the personal style, all from the "theory of Sanyuan" and "theory of Sanguan". At the same time, they hammered at the poetic style of "thin", "hard", "powerful" and "awkward-sounding" to avoid the oily of the poetry. As far as the poetic spirit, what they wanted to express is about how to hold their ground of inherent ethic and moral integrity in the troubled time, which demonstrated three aspects——the blue-mood in face of the troubled time, the helpless cry of the past empire, and the spiritual dependence on the painting and calligraphy.ChapterⅣandⅤmake effort to study the interfluves within the Tong-guang School, which can be divided into two groups——"unacquainted, not smooth, profound" and "lucid, vigorous, deep and secret, sharp", based on the models they imitated and the poetic style. Meanwhile, these two chapters explore and discuss the essential feature of the two groups and the typical poets such as Chen Sanli, Shen Zengzhi, Yuan Chang, Zheng Xiaoxu, Chen Baochen, and Fan Dangshi and so on, including their poetic origin and the main feature of their productions. From above, the unique aesthetic character in their poems would be found.The sixth chapter in the last part exerts itself to explore the relation between Tong-guang School and any other shools at that time, such as Han-wei and Six Dynasties School, Tang-song School, and Middle-late Tang School, and analyzes why this shool could become the mainstream in the Parnassus during the period of Late-Qing Dynasty and Republic of China, according to the focus on the intercourse about poems and the similarities and differences of the view to the poetry and the productions between the typical poets of the Tong-guang School and the others'.The last chapter discusses the relation between Tong-guang School and another organizations concerned to literature, including the Poetic Revolutionary School, Southern Society, and the Movement of New Literature. The exploration is focused on the interrelation of Tong-guang School and Huang Zunxian and Liang Qichao who are the leaders of the Poetic Revolutionary School, and their differences in the poetic theory and production; the break up of Southern Society for their different attitude to Tong-guang School; and the critics from the Movement of New Literature, aiming at analyzing why the Tong-guang School was on the way to decline finally.There is the analysis that the Tong-guang School try to find a new way under the condition of the interaction from the home and the overseas in the epilogue. It had its own well-rounded theory, and got a kind of achievement in the production, but the poetic form they employed was out of time, which wasn ot close to people's structure of knowledge any more, and went to the end defenitly. However, it provided soil to the New Poetry, which came out from the interaction of foreign thought and domestic culture, not growing up without origin.