复古思潮的起伏回荡是明代诗文发展的显著特征之一。在隆庆至崇祯的七十余年间，即一般习惯意义上的“晚明”时期，文学复古思潮呈现出更为丰富的发展样态。复古中心的不断南移、复古主题的变化和复古典范的多元趋向，构成了晚明文学复古的基本特征。整体而言，此际文学复古的中心越来越聚集在南方尤其是江南一带，复古主题逐渐由前后七子所引领的宗法秦汉盛唐转移到以经学复兴为核心的“古学”复兴上来。本文以晚明江南一带文人的文学思想和写作实际为中心，讨论文学复古思潮的在此阶段的发展状况。

中国文化向来有着浓厚的师古、崇古、复古的意识，在传统士大夫的言说语境中，“古”往往是一种基于价值而非时间维度的概念。复古与革新是辩证统一的关系。晚明文学复古的核心不完全在于修辞技术上对秦汉盛唐的追摹，更在于以经学复兴为核心的文化复古，其中蕴含有一定的革新因素。在文人的言说话语中，晚明文学复古属于“古学复兴”。“古学”主要指儒家传统经史之学，它指向儒家道德自省意识和经世致用精神的复归。而自明中叶以来，“求朱子以前六经”的经学思潮让学者纷纷提出要摆脱宋明理学的形上思辨，回到原始儒家经典，以复古的形式，重新讨论人情伦理、君臣之分等思想命题。晚明经学的经世导向和实证倾向，构成了晚明文学复古的思想史背景。

从诗歌的发展史来看，晚明江南诗歌复古经历了由尊崇体格声调、摹拟汉魏盛唐向学问化发展的过程。隆、万之际，王世贞、王世懋、汪道昆、胡应麟等七子派领袖主导诗坛，在江南形成了吴中、浙东、徽南三个复古中心。他们以博学为标榜，并从理论上对复古诗学进行了系统化的总结。他们虽然仍然崇尚汉魏盛唐之声，但是对中晚唐诗风并不完全摒弃；万历后期，出现了以“古学”复兴作为思想基础，强调诗歌写作需要以经史之学为先导的诗学路向，代表诗人包括顾起元、冯复京、程嘉燧、张溥、倪元璐、钱谦益等。这一以学问为导向的诗歌写作潮流，开启了清诗学问化的先声；天启、崇祯朝以后，复社文人群体的诗歌写作风格更加多元与包容，六朝、中晚唐以及宋诗等的典范意义再次被提及。在立言为公，追求不朽价值的诗歌写作方向的指引下，复社诸子的诗歌写作一直在有意识地向理想中的上古三代中诗歌的价值和作用靠近，形成一套制度、仪式包括情感上的规约。晚明诗歌复古中学问化的进路，预示着古典诗歌的总结与集大成时代的到来。

从文章的发展史来看，随着“古学”复兴内涵的演变，晚明江南散文复古的重心由摹拟先秦两汉散文逐渐演变为“宗经”复古。隆庆、万历以后的复古派散文写作，在风格上并没有一味坚持摹拟秦汉古文。七子派所提倡的秦汉文风出现了内部分化以及异化，部分文人以“宗经”复古为更高的追求；部分文人所坚持的古奥深僻文风引起许多人的不满；万历后期，在馆阁、文社等多方力量的推动下，一种以“宗经”复古为思路导向，更为平易典雅的文风日益流行，代表作家包括申时行、焦竑、陶望龄、孙慎行、张鼐、黄汝亨等。与此同时，唐宋文作为更靠近六经旨趣，同时笔法更为自然流畅的取法典范，在晚明日益受到欢迎，并成为清初唐宋文典范意义确立的先导。在天启、崇祯朝，江南复社文人以“尊经复古”为口号，更加关注文章的经世价值和意义，其具体的散文风格则随着写作场景、文体表达的需要而不断灵活变化。

晚明时期的文学复古思潮，是对明代文学复古运动的批判式总结，也是对清代文学复古思潮的开启。从文学知识建构的角度来看，它是古典文学知识与技巧走向集大成时代的先声；从学术思想的角度来看，它是清代学术回归经学本位的先声。它回应了明前中期关于汉魏盛唐、六朝初唐、中晚唐诗歌与宋诗优劣之分、先秦两汉古文、魏晋六朝骈文与唐宋文之别等取法范式的争议，在一定程度上促使这些文学典范走向了融合。整体来看，它是清代文学走向集大成时代的先兆，是清代文学形成更为多元、融通格局的开端。

The rise and fall of the retro trend of thought is one of the remarkable characteristics of the development of literature in the Ming Dynasty. During more than 70 years from Longqing to Chongzhen, that is, the "late Ming" period in general customary sense, the trend of literary retro trend showed a richer development trend.The continuous southward shift of the retro center, changes in retro themes, and diverse trends in retro models constitute the basic characteristics of retro literature in the late Ming Dynasty. Overall, the center of literary retro is increasingly concentrated in the south, especially in the Jiangnan region, and the theme of retro gradually shifted from the patriarchal clan system led by the seven sons before and after the Qin and Han dynasties to the revival of "ancient learning" with the revival of Confucian classics as the core. This paper focuses on the literary thoughts and writing practices of literati in the Jiangnan area of the late Ming Dynasty, and discusses the development status of the literary retro trend at this stage.

Chinese culture has always had a strong awareness of learning from the past, respecting the past, and restoring the past. In the discourse context of traditional literati, "ancient" is often a concept of value rather than a temporal dimension. The relationship between retro and innovation is a dialectical unity. The core of the revival of literature in the late Ming Dynasty was not solely the replication of the Qin, Han, and Tang dynasties through rhetorical techniques, but rather the cultural revival centered around the revival of Confucianism, which contained certain innovative factors. In the discourse of literati, the revival of late Ming literature belongs to the revival of ancient studies. "Gu Xue" mainly refers to the traditional Confucian study of classics and history, which points to the return of Confucian moral introspection and the spirit of practical application. Since the middle of the Ming Dynasty, the Confucian thought of "seeking the Six Classics before Zhu Xi" has led scholars to propose to break away from the metaphysical delusions of Song and Ming Neo Confucianism and return to the original Confucian classics, in a retro form, to re discuss ideological propositions such as human ethics and the distinction between monarchs and subjects. The historical orientation and empirical tendency of the late Ming Confucian classics constitute the ideological background of the revival of late Ming literature.

From the development history of poetry, it can be seen that the retro style of Jiangnan poetry in the late Ming Dynasty went through a process from respecting the style and tone, imitating the Han, Wei, and Tang dynasties to becoming more knowledgeable. At the turn of the Longqing and Wanli dynasties, leaders of the Seven Sons School, including Wang Shizhen, Wang Shimao, Wang Daokun, and Hu Yinglin, dominated the poetry scene, forming three retro centers in Jiangnan: Wuzhong, eastern Zhejiang, and southern Anhui. They boast of their erudition and systematically summarize retro poetics from a theoretical perspective. Although they still revere the voice of Han, Wei, and prosperous Tang, they do not completely abandon the poetic style of the mid to late Tang Dynasty; In the late Wanli period, there emerged a poetic direction based on the revival of "ancient studies" and emphasizing the need for poetry writing to be guided by the study of classics and history. Representative poets include Gu Qiyuan, Feng Fujing, Cheng Jiasui, Zhang Pu, Ni Yuanlu, Qian Qianyi, and others. This trend of poetry writing guided by knowledge opened the door to the professionalization of Qing poetry; After the Tianqi and Chongzhen dynasties, the poetry writing style of retro poetics, centered around the literati of Fushe, became more diverse and inclusive. The exemplary significance of poetry from the Six Dynasties, the Middle and Late Tang dynasties, and the Song dynasty was once again mentioned. Guided by the direction of poetry writing, which advocates for public speaking and pursuing immortal value, the poetry writing of the Fu Society scholars has been consciously approaching the ideal value and role of poetry in the ancient three generations, forming a set of systems, rituals, and emotional norms. The approach of retro learning and questioning in late Ming poetry heralds the arrival of the era of summarizing and summarizing classical poetry.

From the perspective of the history of prose development, with the evolution of the connotation of the revival of "ancient studies", the theme of the retro style prose in Jiangnan in the late Ming Dynasty gradually evolved from imitating the prose in the pre-Qin and Han Dynasties to the retro style prose of "Confucian classics". The retro prose writing after Longqing and Wanli did not blindly adhere to the imitation of Qin and Han ancient prose in style. The Qin and Han literary style advocated by the Seven Sons School experienced internal differentiation and alienation, and some literati began to pursue the restoration of classics as a higher pursuit; The ancient and profound literary style adhered to by some literati has caused dissatisfaction among many people; In the late Wanli period, under the promotion of various forces such as the Guan Ge and the Wen She, a more simple and elegant literary style guided by the idea of restoring the classics became increasingly popular. Representative writers include Shen Shixing, Jiao Hong, Tao Wangling, Sun Shenxing, Zhang Nai, Huang Ruheng, and others. At the same time, Tang and Song prose, as a model of writing style that is closer to the Six Classics and has a more natural and fluent brushwork, has become increasingly popular among the late Ming retro school and has become a precursor to the establishment of the orthodox status of Tang and Song prose in the early Qing Dynasty. In the Tianqi and Chongzhen dynasties, the literati of the Jiangnan Restoration Society adopted the slogan of "respecting the classics and restoring the past", paying more attention to the value and significance of their articles in the world. Their specific prose style constantly changed flexibly according to the needs of writing scenes and literary expression.

The literary retro trend in the late Ming Dynasty was a critical summary of the literary retro movement in the Ming Dynasty, as well as the opening of the literary retro trend in the Qing Dynasty. From the perspective of literary knowledge construction, it is the precursor to the era of the integration of classical literary knowledge and techniques; From the perspective of academic thought, it was the precursor to the return of Qing Dynasty academia to the focus of Confucianism. It responds to the controversies over the selection of paradigms in the early and middle Ming dynasties, such as the flourishing Tang poetry of the Han and Wei dynasties, the distinction between mid to late Tang poetry and Song poetry, and the distinction between ancient Chinese literature of the pre Qin and Han dynasties and Tang and Song poetry, which to some extent promotes the integration of these literary models. Overall, it is a precursor to the era of consolidation of Qing Dynasty literature and the beginning of a more diverse and integrated pattern of Qing Dynasty literature.