本文借助布赫迪厄的「文學場」概念，以及過去學界藉此概念研究中國現代文學所取得的若干成果，嘗試探究宋春舫這位譯者兼學者在五四文壇的實質影響。1916年自歐洲返國後，宋春舫在不到三年的時間裡從文壇邊緣迅速移往核心位置。他自留學期間開始撰寫的遊記與返國後發表的戲劇專業文章共同為他積累文名。遷居北京後，宋春舫開始引起胡適等《新青年》編輯成員的注意，最終受聘至北京大學任教。本文分別查考他在北大校園內外透過教學和著述形成的影響，以及這些影響在五四之後長期受到文學史忽略的原因。透過北京大學的正課和社團活動，宋春舫的學識對陳良猷、趙祖欣、陳綿、余上沅等人在校及畢業後的戲劇翻譯和創作留下清楚的印記；他在五四時期提出的〈近世名戲百種目〉和其他建議，則透過《新青年》、《東方雜誌》、《時報》等刊物成為當時多位譯者在翻譯作品選擇上的重要依循。

In light of Pierre Bourdieu’s concept of the “literary field,” as well as recent studies that have applied it to modern Chinese literature, this article analyses Soong Tsung-faung’s (Song Chunfang) influence during the May Fourth era as a scholar, an educator and a translator of dramatic literature. After 1916, when Soong returned from years of travel and study in Europe, it took him less than three years to migrate from the margins to a core position within the Chinese literary field. The symbolic capital he accumulated through his early travel writings and theatre essays attracted the notice of the editors of La Jeunesse (The New Youth) at the Government University of Peking. After he was recruited into the university, both his teaching on campus and his publications had a clear impact on the contemporary practice of the translation of Western drama into Chinese. When he resigned from Peking University and moved elsewhere, however, he became much less influential and eventually came to occupy an insignificant position in the history of modern Chinese literature. Soong’s teachings at the university and his relationship with students such as Chen Lianyou, Zhao Shaoho, Chen Mian and Yu Shangyuan, can be identified from their works both before and after their graduation. A good deal of his list of the “World’s 100 Best Plays” as well as other publicly expressed opinions that were published in renowned periodicals, were followed by leading translators of the time.