论宋代词学的“骚雅”  

A Discussion of "Sao Ya"

作　　者：郭锋[1] 

机构地区：[1]南京师范大学文学院博士后流动站,江苏南京210097

出　　处：《济南大学学报（社会科学版）》2005年第3期45-49,共5页Journal of University of Jinan:Social Science Edition

摘　　要：南渡之初鲖阳居士提出“骚雅”的批评标准。南宋灭亡以后,张炎著《词源》,确立“骚雅”为宋词的审美理想,并且指出南宋词坛实际上存在的两种“骚雅”:无意为词,借助汉魏古诗的手法的稼轩词;注重发挥词的特质,在本色入乐的前提下发挥风月、咏物言志的白石词。江湖词派中的遗民词人借助白石的骚雅句法来润色清真词的意趣不高,又借鉴清真词的典丽、梦窗词的字面、梅溪词的句法来改造白石词的尽兴率意。给“骚雅”的词法融入“骚雅”人品,从而完成了对骚雅理想的追求。SaoYa is the aesthetic idea of Song poetry. Just before the southern Song dynasty. Tongyang hermits posed the critical standard of SaoYa. With southern Song dying out, appointing SaoYa as the aesthetic idea Song poetry, the author 'CiYuan', Zhang Yan, pointed out different ways that different schools on southern Song Dynasty platform realized their dream of SaoYa. The unconsciousness of SuXin, with the help of the style of ancient poetry of Han Wei Dynasty, achieved SaoYa while with the prerequisite of tradition ideal accompanied with music, JiangHu poetry school paid more attention to the meaning. With extensibility of the feature of the poetry of Song dynasty, writing things and romance, expressing their feelings, Jianghu poetry school reached Saoya. While using the Zhou Bangyan's principle and Wu Wenying's literary for reference to rebuild thorough expressing of feeling and drawing assistance from SaoYa sentence structure to polish the lack of Qingzhen poetry, the writer of the later period made a kind of personal Saoya popularized manpower efficacy.

关 键 词：鲖阳居士 张炎《词源》 骚雅人品 审美理想 

分 类 号：I207.22[文学—中国文学]