晚明词坛的推尊唐词与“唐音”复归  

The Respect for Tang Ci and the Return of the“Tang Lyric”in the Late Ming Dynasty

作　　者：陈水云[1] CHEN Shui-yun(College of Literature,Wuhan University,Wuhan,Hubei,430072,PRC)

机构地区：[1]武汉大学文学院,湖北武汉430072

出　　处：《西北师大学报（社会科学版）》2022年第5期48-55,共8页Journal of Northwest Normal University(Social Sciences)

基　　金：国家社会科学基金项目“海峡两岸中华词学发展史(1945-2018)”(18BZW080)。

摘　　要：明代万历以后词坛,有一种推尊唐词的倾向,不但多次翻刻有关唐五代词的典籍,而且还新编新刻了《花间集补》《唐词纪》这样的唐五代词文献,当时的选本或评论中也反复出现“唐词”“唐调”“唐音”的提法,表明“唐词”作为一种观念在晚明渐已形成,它的意义指向是:词祖、古音、香艳、温丽,这对明末清初“唐音”的复归产生了直接的影响。After the Wanli period of the Ming Dynasty,there was a tendency to advocate Tang Ci,not only by repeatedly reprinting the classics on Tang and Five Dynasties Ci,but also by newly compiling and reprinting such documents as Collection Supplement of Hua Jian and Tang Ci Chronicle.The terms“Tang Ci”,“Tang Tune”and“Tang Lyric”also appeared repeatedly in anthologies and commentaries of the time,which showed the meaning of“Tang lyric”as a concept had been gradually formed in the late Ming Dynasty,and its meaning pointed to the ancestors of Ci and ancient lyrics with fragrance and warmth.This had a direct impact on the return of the“Tang Lyric”in the late Ming and early Qing Dynasties.

关 键 词：晚明 唐五代词 唐音 创作 观念史 

分 类 号：I207.23[文学—中国文学]