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作 者:彭玉平[1] 吴昊 PENG Yu-ping;WU Hao(Department of Chinese,Sun Yat-sen University,Guangzhou 510275;College of Liberal Arts,Shantou University,Shantou 515063,Guangdong,China)
机构地区:[1]中山大学中文系,广东广州510275 [2]汕头大学文学院,广东汕头515063
出 处:《兰州大学学报(社会科学版)》2022年第5期130-139,共10页Journal of Lanzhou University(Social Sciences)
基 金:国家社会科学基金重大项目“中国词学通史”(17ZDA239)。
摘 要:山谷词可大致划分为早年丽情词与晚年贬谪词两类。丽情词中对《高唐赋》典故的运用局限于以“云雨”意象群指代男女欢会或离别,谪黔以后,山谷词风丕变,填词成为其寄寓情志、排解忧怀的重要方式,“高唐”“阳台”等地理意象被其纳入词体创作,从而使贬谪词在现实感与历史感的交叠之中表现出更加渊微沉挚的生命感慨。与创作同步,晚年山谷在理论上也认识到《高唐赋》对深化词旨的显著作用,其《小山集序》中“合者《高唐》《洛神》”之评意在强调小山词婉丽轻倩的外表之下蕴藏着幽曲隐奥的托兴之思。《小山集序》既是山谷“以诗赋论词”词学观念的集中呈现,更是其山谷词艺术特征的自我张本。Huang Tingjian’s Ci-poetry(Shangu Ci) can be roughly divided into two categories: early affective poetry and late relegation poetry. In the former, he only quoted from Song Yu ’s Ode to Gaotang the image groups of“ cloud and rain ”, implying the affection or parting of lovers. After being relegated to Qianzhou, his writing style changed significantly. In the latter, Ci-poetry was a major way to express his feelings and relieve his worries. The geographic images like“Gaotang”and“Yangtai”, quoted from Ode to Gaotang empowered his Ci-poetry to boast profound and subtle charm with overlapping sense of reality and history. His Ci-poetic theory changed with his Ci-poetry style when he recognized the remarkable role of Ode to Gaotang in deepening poetic themes in his late years. In his Preface of Yan Jidao’s Ci-poetry Anthology, he commented that Yan ’s Ci-poetry(Xiaoshan Ci) was“ as elegant as Ode to Gaotang and Ode to Luo River Goddess”, emphasizing the deep and subtle feelings behind the beautiful and gentle words of Yan’s Ci-poetry. Therefore, Preface of Yan Jidao’s Ci-poetry Anthology not only epitomized his Ci-poetic view that Ci-poetry should be commented in the form of poetry, but also reflected the artistic characteristics of his Ci-poetry.
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