悲情之“雅”与欢娱之“俗”——试论明末清初词学思想向悲情之雅的复归  

Elegant Sadness & Vulgar Merriness:On the Revival of Elegant Sadness of Ci-poetry in the Late Ming and Early Qing Dynasty

作　　者：杨雨[1] 

机构地区：[1]中南大学文学院,湖南长沙410083

出　　处：《兰州大学学报（社会科学版）》2010年第4期18-26,共9页Journal of Lanzhou University（Social Sciences）

基　　金：2008年度教育部人文社会科学一般项目"中国词学批评范畴体系"(08JA751040)

摘　　要：清初各大词家、词派在对明词进行反思的时候,都意识到造成明词流弊的重要原因是文人耽于逸乐的时俗,因此他们在重塑词之雅正形象的过程中不约而同地在其理论体系里试图恢复词的悲情之雅,对明词欢娱之俗进行理论上的反叛。而这一崇雅反俗的原动力,其一是明清易代的特殊时代背景,其二是顽强的儒家怨刺诗教传统的要求,其三则是人性深处本能的悲情意识的体现以及由悲情意识引发崇高的伦理同情的需要。Vulgarity indulgence was believed by all ci-poets and genres of the early Qing Dynasty to be the major cause for the abuses in the ci-poetry of the Ming Dynasty, so they unanimously attempted to revive theoretically the sad elegance and to revolt against vulgar merriness in reshaping elegant ci-poetry. And the driving force for this purpose can be attributed to the very historical background of the transitional period, to the traditional Confucian poetic ideas, and to the pathos of the human nature and its sublime ethical sympathy.

关 键 词：明末清初 词学思想 雅 悲情 俗 欢娱 

分 类 号：I207.23[文学—中国文学]