“苦雨斋派”是上世纪二三十年代以周作人为中心形成的自觉性文学流派，其以俞平伯、废名为两翼，以沈启无、徐祖正为主要成员，并有张定璜、江绍原参与前期建构，“驼群社”友人的外围策援。在基本范畴上，与“骆驼草派”“周作人四大弟子”“苦雨斋文人群”“言志派”等概念具有不同层面的相关性。在30年代的历史现场中，各方势力均曾指出这一流派的存在以及强势影响，而由于历史原因其在后来的文学史述中长期湮没。流派的自觉有赖群体的聚合、盟主的推举、明确的文学主张，及文体变革意识与实践。本文通过提出“苦雨斋派”的统合性概念，尝试重建这一流派的文学史论述，重在考察苦雨斋派生成过程，重勘言志文论和思潮的基本论题，并深入周作人、俞平伯、废名三大“文体家”的文章内部，分析其30年代以来“晦涩”的深化和以“杂”为尚的“后纯文学”与“反文章学”取向如何成为“言志文体”的究极实践。

第一章考察苦雨斋知友空间的缔造与苦雨斋派的生成路径。通过苦雨斋元旦宴饮的仪式性传统开创，周作人将苦雨斋经营为一种文化空间，这既是知友精神的实践环节，也成为周作人自我经典化的重要起点。以周作人为首的“五教授”对“非宗教大同盟”的抵抗，标志周氏后“五四”时代的一个新起点。经由“某籍某系”这一社交网络的触角延伸，周作人结识张定璜与徐祖正，并以知识结构的契合和文学趣味的相投，组成“骆驼社”，是为周作人知友空间在文学向度上的一次凝练，成为苦雨斋派的萌芽。与此同时，俞平伯、废名、江绍原、沈启无先后进入苦雨斋，并出于不同原因疏远了此前亲近的胡适或鲁迅，以思想和文学趣味的相合，或曰“苦雨斋气分”的作用，最终择定了周作人的道路。这一知友空间的形成过程，是苦雨斋派生成的内在理路和先决条件。

1930年北方左翼青年围剿周作人，旋即又有青年学生出面为周氏辩护，由此以《新晨报副刊》为战场形成了长达三个月的“倒周派”与“挺周派”的论战。其后《骆驼草》创刊，标志着苦雨斋派作为一个整体首次公开亮相。第二章将倒周派、挺周派、以《骆驼草》为阵地的苦雨斋派，以及作为背景隐含其间的沪上革命文学——左翼文学阵营，作为四个声部，在内外四维的建构中，聚焦这一苦雨斋派生成的关键性时刻。

第三章从“概念磨合”“纲领确立”“选本策应”三个维度考察苦雨斋派文论共构的模式。1922年俞平伯的《诗底进化的还原论》引发周作人的驳难，这场论争的特殊性在于它并非两种对立观点间的针锋相对，而是同类文学观在能指错位中的磨合磋商。俞平伯在不断回应误解的过程中完成自我梳理，并为“人生的文学”这一“言志”理论初始概念建立起全面性阐释，亦成为苦雨斋派文论共构的起点。1932年周作人《中国新文学的源流》和沈启无选编《近代散文抄》的出版，标志现代言志文学思潮的正式形成，这也是苦雨斋派最重要的两个文本。前者以“言志-载道”交替论和“言志”理论建立为两个核心观点，而对《源流》的研究始终建立于对一些根本性问题的误读基础之上，故重勘《源流》基本问题，对于理解《源流》及苦雨斋派“言志”理论系统是一项首要工作。《近代散文抄》作为《源流》的策应，其如何在各种小品文文体之间排兵布阵，布阵方式如何呼应周作人的小品文理念，又如何影响于现实的文学场域，是透视该选本的主要方面。

第四章聚焦苦雨斋派“涩”的诗论。“涩”之于苦雨斋派，不仅是风格命题，而且是思想命题，与“言志”观深刻联结。周作人最早在新文学中提倡“涩”的审美理想，是在论诗之际，苦雨斋派诸公的“涩”论亦多集中于古今诗论，故理解苦雨斋派诸公对“涩”的风格构建，离不开对其“涩”的诗论的考察。第五至七章从“言志文体的深化”的角度，考察苦雨斋派的文体创格。第五章以“抄书何以言志”为中心问题，首先厘定周作人“杂文学”取向中的“后纯文学”与“反文章学”立场；次之剖析其抄书体随笔“非正宗的别择法”和经学的文学化思路；继而解读抄书体随笔以中国意念为主轴的比较文化学意义；最后从“不切题”的作文宗旨和“上下四旁”的具体方法，分析周作人如何重构“赋得”，使之翻转为言志文章的有效表达方式。第六章提出“造梦随笔”的概念，阐发俞平伯30年代以“三槐”为代表文体创造。首先论述俞平伯散文文学史形象的生成与中断；其次将“文言”作为问题，在俞平伯创作史的视域下考察其造梦随笔的语言工具扩展和丰富的文体准备。再次，分析俞平伯如何将“造梦”作为乱世中的入世之法；最后，从思理方式分析俞平伯“三槐”晦涩文字的主要成因，尝试提供阅读和解码的方法。第七章论述废名小说的散文性装置，首先辨义废名话语系统中“诗”和“散文”有别于一般认识的特定内涵；其次，回归30年代批评现场，考察批评者对废名小说持论的分歧，特别分析关于“晦涩”的批评症候。继之分论《桥》《莫须有先生传》《莫须有先生坐飞机以后》三种作品，勾勒其由诗性小说向散文性小说的变迁进程。

苦雨斋派人物曾被称作“隐士派”，实为非隐逸的隐士派，其在“隐逸”的张力中建立起现代文学的自反性机制。“知友空间”的组织方式、言志理论与小品文运动的开创、“涩味”的风格论及其实践，在“各言其志”“各尊所闻”的纽带上相互贯通、生成体系，成为抵抗文学与思想趋向同质化的强力反流，并在后来的中国文学发展中不断发挥效用。

The "Kuyuzhai School" was a self-conscious literary school centered around Zhou Zuoren in the 1920s and 1930s. It prominently featured Yu Pingbo and Feiming as key figures, with Shen Qi Wu and Xu Zu Zheng as main members, and short-term involvement from Zhang Dinghuang, Jiang Shaoyuan, and Lin Geng, supported by the peripheral strategy of the "Camel Group Society" friends. Conceptually, it was related to various other literary groups and movements such as the "Camel Grass School," "Zhou Zuoren's Four Major Disciples," "Kuyuzhai Literati Group," and the "Yanzhi School." During the 1930s, the school was recognized for its significant influence, although it was later obscured in historical literary narratives due to historical reasons. The formation of this school depended on the aggregation of its group, the leading figure, explicit literary propositions, and the consciousness and practice of stylistic transformation. This paper proposes the integrative concept of the "Kuyuzhai School" to attempt a reconstruction of its literary historical discourse. It focuses on the formation process of the Kuyuzhai School, revisits the fundamental topics in Yanzhi literature and thought, and delves into the writings of Zhou Zuoren, Yu Pingbo, and Feiming, analyzing how their "obscure" intensification and the "post-pure literature" preference for "miscellaneous" styles since the 1930s became the ultimate practice of Yanzhi stylistics.

Chapter One examines the creation of the Kuyuzhai's literati network and the formation path of the Kuyuzhai School. Zhou Zuoren inaugurated the Kuyuzhai through the ritualistic tradition of the New Year's Day banquet, transforming it into a cultural space—a key aspect of the literati spirit and a significant starting point for Zhou's self-classicization. Led by Zhou Zuoren, the "Five Professors" resisted the "Non-religious Grand Alliance," marking a new beginning in the post-May Fourth era for the Zhou family. Through the social network of "certain pedigrees and cliques," Zhou met Zhang Dinghuang and Xu Zu Zheng, and with a shared alignment in intellectual frameworks and literary tastes, formed the "Camel Society," crystallizing Zhou’s literati network in literary terms and germinating the Kuyuzhai School. Concurrently, Yu Pingbo, Feiming, Jiang Shaoyuan, and Shen Qi Wu joined the Kuyuzhai, distancing themselves from former close associates Hu Shi or Lu Xun for various reasons, and aligning with Zhou’s path through shared intellectual and literary interests, or what might be called the "Kuyuzhai spirit." The formation of this literati network was both the internal rationale and a prerequisite for the emergence of the Kuyuzhai School.

In 1930, northern leftist youths besieged Zhou Zuoren, leading to a counter-movement where young students came to Zhou's defense. This sparked a three-month polemic in the "Xin Chen Bao" supplement, distinguishing the "Anti-Zhou Faction" from the "Pro-Zhou Faction." Following this, the publication of "Camel Grass" marked the Kuyuzhai School's first public appearance as a cohesive group. Chapter Two examines these factions—Anti-Zhou, Pro-Zhou, and the Kuyuzhai School using "Camel Grass" as their platform—along with the backdrop of Shanghai's revolutionary literature, representing the leftist literary camp. These four voices, in both internal and external dimensions, focus on the pivotal moment in the formation of the Kuyuzhai School.

Chapter Three explores the Kuyuzhai School's co-constructed discourse from three dimensions: "conceptual alignment," "establishment of principles," and "strategic selection of texts." In 1922, Yu Pingbo's "Reductive Theory of the Evolution of Poetry" prompted a rebuttal from Zhou Zuoren, highlighting the uniqueness of the debate—it was not a confrontation between opposing views, but rather a negotiation and alignment of similar literary perspectives amidst misaligned signifiers. Through Yu's continuous responses to misunderstandings, he refined his ideas and developed a comprehensive interpretation of "Life's Literature," an initial concept in Yanzhi theory, marking the beginning of the Kuyuzhai School's co-constructed literary discourse. The publication in 1932 of Zhou Zuoren's "Origins of China's New Literature" and Shen Qi Wu's edited "Modern Prose Anthology" signaled the formal emergence of modern Yanzhi literary thought, representing two of the most crucial texts for the Kuyuzhai School. The former establishes two core ideas: the alternating theory of "Yanzhi and Zaidao" and the foundational Yanzhi theory. Studies on "Origins" have consistently been based on misreadings of fundamental issues; thus, re-examining these issues is crucial for understanding both the "Origins" and the Kuyuzhai School's Yanzhi theoretical system. "Modern Prose Anthology," complementing "Origins," explores how it strategically arranged various essay styles, how this arrangement resonated with Zhou Zuoren's essay philosophies, and how it influenced the literary field, serving as a critical aspect of understanding this anthology.

Chapter Four focuses on the "astringent" poetics of the Kuyuzhai School. For the school, "astringency" is not merely a stylistic proposition but also an ideological one, deeply connected to the concept of "Yanzhi." Zhou Zuoren was the first to advocate for this aesthetic of astringency in modern literature, specifically during discussions on poetry. The school's discourse on "astringency" is largely centered on both ancient and contemporary poetic criticism, making an examination of their views on "astringent" style essential for understanding their poetic theories. Chapters Five to Seven investigate the deepening of the "Yanzhi" stylistic form within the Kuyuzhai School. Chapter Five addresses the central question of "How does transcription express 'Yanzhi'?" It begins by defining Zhou Zuoren's orientation towards "miscellaneous literature," post-pure literature, and an anti-article academy stance. It then analyzes his transcription style essays and the "unconventional choice method," as well as the sinologization of scholarship. Subsequently, the chapter interprets the comparative cultural significance of transcription-style essays centered around Chinese ideas. Finally, it examines how Zhou reconstructs the composition principle of "being off-topic" and his specific method of "looking around," analyzing how he transforms it into an effective expression mode for Yanzhi articles.

Chapter Six introduces the concept of "dream-writing essays," elaborating on Yu Pingbo's stylistic creation in the 1930s, exemplified by his "San Huai" essays. The chapter first discusses the formation and interruption of Yu Pingbo's image in the history of prose literature. It then considers "classical Chinese" as a problem, examining under Yu Pingbo's creative perspective how his dream-writing essays expanded and enriched his linguistic tools and stylistic preparations. Furthermore, it analyzes how Yu used "dream-writing" as a method to engage with the chaotic world of his time. Finally, from a cognitive and philosophical standpoint, the chapter delves into the primary causes of the obscurity in Yu's "San Huai" texts, attempting to provide methods for reading and decoding.Chapter Seven discusses the prosaic devices in Feiming's novels, initially distinguishing the specific connotations of "poetry" and "prose" within Feiming's discursive system, which differ from general understandings. It then revisits the critical landscape of the 1930s to explore the divergent opinions held by critics on Feiming's novels, with a special focus on the symptoms of critique concerning "obscurity." Following this, the chapter analyzes three of his works, "The Bridge," "Mr. Moxuyou's Biography," and "Mr. Moxuyou Flies Again," outlining the transformation from poetic novels to prosaic novels.

Members of the Kuyuzhai School were once referred to as the "Hermit School," which paradoxically was not a school of reclusion but rather one that established a mechanism of self-reflexivity within modern literature through the tension of seeming reclusion. The organizational method of the "literati friends' space," the development of Yanzhi theory and the micro-essay movement, as well as the stylistic theory and practice of "astringency," interconnect and form a system under the principles of "each expressing their aspirations" and "each respecting what they hear." This system acts as a powerful counter-current against the homogenization of literature and thought, continually exerting influence on the development of Chinese literature thereafter.