章太炎是民國舊詩學的一位具有代表性的理論家，但他的詩學卻長期為其經史小學方面的巨大成就遮蔽而未獲重視，本文著重考察「文學革命」前後太炎詩學的轉變，說明太炎詩學前期作為「文學革命」先驅者而後期轉變為「文學革命」批判者的兩個面向，並針對這兩個矛盾面向的成因進行分析。本文指出早在「文學革命」之前，太炎已經提出革新詩歌的主張，包括詩尚意氣說和聲律調度、詩體等詩歌形式層面的革新，實為「文學革命」期間胡適、劉半農等人提出的語言、詩韻、體裁等形式層面詩學革命的先聲。隨著「文學革命」的開展，他卻轉變為一個「文學革命」的批判者。他認為詩歌形式層面的革新必須有一個底線，更重要的是，他尖銳地批評白話詩偏離了中國詩歌崇尚真性情的傳統。本文通過對太炎詩學亦新亦舊的矛盾性與複雜性的剖析，藉此為民國舊詩學與「文學革命」的關係提出新的反思

Zhang Tai Yan was a prominent representative of old poetics in Republican China, but unfortunately, his views on poetics have been neglected for a long time. This paper focuses on the transformation of Zhang Tai Yan's poetics during ＂Literature Revolution＂, unveils Zhang's two facets as both pioneer and critic for this movement, and does an intellectual-historical study on how these two contradictory facets coexisted. This paper points out that Zhang had come out some revolutionary ideas such as promoting masculine poetry and reforming the forms of classical Chinese poems. These very new ideas made Zhang an actual pioneer of ＂Literature Revolution＂. Nevertheless, Zhang transformed to be a critic as ＂Literature Revolution＂ lasted. He decisively defended that the reform of the forms of classical Chinese poems should maintain a bottom line. More importantly, He criticized that the newly fashioned vernacular poem writing had deviated the lyrical tradition of Chinese poetics. Based on the case study of Zhang Tai Yan, this paper also sheds a light on reflecting the relationship between the old poetics and ＂Literature Revolution＂ in Republican China