梦窗词学观与词风的二元走向  

Mengchuang's Ci Poetics and the Bifurcated Trend of the Ci-poetry Style——Original title: The Ci-poetics in the Late Song Dynastry and the Historical Value of Mengchuang

作　　者：孙虹 孙龙飞 

机构地区：[1]江南大学人文学院,江苏无锡214122

出　　处：《上海大学学报（社会科学版）》2014年第6期69-82,共14页Journal of Shanghai University(Social Sciences Edition)

基　　金：教育部人文社科基金项目"吴梦窗词及生平事迹考论"(10YJA751066)

摘　　要：文章主要采用以宋论宋的方法,指出晚宋词学区分宋词为豪气词与雅词两大阵营:既摒弃不拘音律的豪气词派,又汰黜守律派词中的浮艳而归趋醇雅。守律派著名词人吴梦窗的论词四标准和创作实践与宋代特别是晚宋词学合流共趋;其词学观点与带有先锋实验性质的创作实践,是"由南追北"二元走向的词家转境,守律派词学与词风因之具有了词史的典范意义。This article is to evaluate the Ci-poetry of the Song Dynasty from the perspective of the Ci-poetics developed in that period.In the late Song period, scholars divided Ci-poems into two categories： the heroic and the elegant.They disapproved the heroic ones that broke the rules of meter, rhythm or rhyme;for those written in regular meter or rhyme patterns, they would depreciate them as well if they were written in excessively flowery and ornate style.Wu mengchuang, a poet of the Shou-lv （ formal-rule-abiding ） group, heralded the trend of Ci-poetics in the Song, in particular the late Song dynasty.Both his statement of four criteria for Ci-poetry and his pioneering and experimental Ci-poetry creation reflected the bifurcated trend of“continuing the Southern Song style while learning from the northern style”.Thanks to his efforts, the Shou-lv group, with its Ci-poetics and its Ci-poetry style, acquired a unique position in the history of Ci-poetry.

关 键 词：梦窗词学观 创作实践 二元走向 词史意义 

分 类 号：I206[文学—中国文学]