论东坡体由“应”向“非应”的飞跃  

Dongpo's Lyric: A Shift from Responsive Style to Non-responsive Style

作　　者：木斋[1] 

机构地区：[1]吉林大学文学院,吉林长春130012

出　　处：《吉林大学社会科学学报》2006年第4期134-141,共8页Jilin University Journal Social Sciences Edition

摘　　要：东坡词在倅杭时期,基本都是“应”的创作;密徐时期,应体之作占有55%的比例,显示了向“非应”的渐次转型;黄州时期出现的经典名篇,其中80%皆为非应之作。东坡的应歌之作具有真实的属性,对东坡词的音乐性具有极大的帮助;应社之作,刺激了东坡词的大量写作,两者都是对“非应”写作的一种准备;应歌面对歌者,应社面对士大夫社会,都有戴面具的因素。苏轼对于一切“应”的摆脱,使其词体写作走向大自然、走向日常生活、走向自我内心。Almost all of Dongpo＇s Lyrics in Hangzhou were sesponsive style and they occupied 55% in the period of Mizhou and Xuzhou. Then the Non-responsory Lyric dominated in the period of Huangzhou and 80% of classical lyrics were the Non-responsive Lyric. Dongpo＇s Yingge Lyric had the characteristic of genuine and had great help to the musical feature of his lyric. The Yingshe Lyric stimulated the growing numbers of Dongpo＇s Lyric. Both of them were the preparation of non-responsive Yingge faced to the singer and Yingshe faced to the society of scholar-bureaucrat, both of them had the factor of mask. Breaking away from all the responsive style, the striking characteristic of Dongpo＇s Lyric was to go back to nature and daily life and the innermost feeling.

关 键 词：东坡体 应 应歌 应社 非应 

分 类 号：I207.23[文学—中国文学]