清嘉慶、道光間，論詩風氣一變。乾隆時詩壇百家競放的盛況已過，論詩專崇質實的風尚日趨明顯。本文擬以潘德輿、鍾秀等人對歷代李、杜、陶評論所作的再評價，略窺清後期詩論的此一實質。嘉慶、道光間，潘德輿拈出「質實」一語，1可謂一舉道明了清代詩學的主要傾向。此語不僅可以貫通在他之前的順康雍乾各家之說，而且更預示了在他身後的咸同光宣詩壇的風氣，故其意涵甚大。數年前，余曾撰文論述之，以此「質實」一語檢視了乾隆以前清人的諸種論詩立場。2今仍以潘氏為中心，並及他家，再略述此題的另一顯著表現，即嘉道咸同之際，詩壇好用儒家詩教原則重評歷代詩人，且權量幾至於苛嚴的程度，而李、杜、陶等宋人樹起的最大典範，也無一例外地經受了這一番重新審視。其間雖不無過當之處，卻也使詩學前已有之的種種結論，經歷了一番淬煉，而達於精嚴，多少推動了這一時期詩學的進步。

During the Chia-ch’ing and Tao-kuang Era, the concept of poetry was changing. Chien-lung, the prime time of poetry discussion, has already passed when all kinds of concept of poetry were accepted. In the era of Chia-tao, the concept of poetry became severe and pragmatic. This article intends to re-evaluate Pan Te-yu and Chung Hsiu’s comments on Li Po, Tu Fu and T’ao Yuan-ming and clarifies the concept of poetry in the late Ch’ing dynasty.

嘉道;質實;詩教

Chia-tiao; pragmatic; poetry teachings