论夏承焘的歌行体创作及诗体创变思想  

Xia Chengtao's Ballad-Form Poetry and His Innovational Thought about Poetry Types

作　　者：辛晓娟[1] 

机构地区：[1]中国人民大学国学院

出　　处：《文艺理论研究》2016年第3期78-88,共11页Theoretical Studies in Literature and Art

基　　金：中国人民大学科学研究基金(新教师启动金)项目"唐诗歌行体对长安都城文学传统的继承与发展"[批准号15XNF009]的阶段性成果

摘　　要：本文旨在指出,一代词宗夏承焘先生在古近体诗歌的创作上亦有很高造诣。其于歌行一体颇为致力,其成就却被学界忽略。歌行创作不仅体现了其诗学理念从早年尚奇尚艰向壮年晓畅平易的变迁,更在某种意义上寄托了夏承焘"诗体创变"的理想。三四十年代,面对时代巨变,夏承焘尝试借鉴词曲诞生的经验,拟将歌行体结合俚辞,成一代之新体。本文试从《天风阁学词日记》中关于歌行体的论述出发,结合《天风阁诗集》中创作实际,对夏承焘先生的歌行体创作轨迹及诗体创变思想作一次初步的阐述。Famous ci-poetry scholar Xia Chengtao also attained highly in ancient poetry creation, and he was especially devoted to the song-form poetry but his achievements have not been done justice to in the academic circle. His poetic idea shown in his writing turns from his early unconventional diction to later plain style, and it reflects his pursuit of transformation of poetic forms. In the 1930s and 1940s when the social changes were drastic, Xia Chengtao tried to blend the ballad form with ci-poetie lyrics so as to create a new form. This paper examines Xia Chengtao＇s comments on ballad-form poetry in his Diaries of Learning Ci-Poems in Tianfeng Chamber and delineates his ballad-form poems in his Collected Poems from Tianfeng Chamber to examine his creative practice and traces his poetic transformation.

关 键 词：夏承焘 歌行体 诗歌体裁 创变 

分 类 号：I207.25[文学—中国文学]