花间别调:毛文锡词的艺术成就探析  

A Different Tune from Huajian:An Analysis of the Artistic Achievements of Mao Wenxi’s Ci

作　　者：于广杰[1] Yu Guangjie(College of Literature,Hebei University,Baoding,Hebei 071002,China)

机构地区：[1]河北大学文学院,河北保定071002

出　　处：《保定学院学报》2023年第1期44-50,共7页Journal of Baoding University

基　　金：河北省教育厅高等学校人文社会科学一般项目“燕赵词史论”(SY2022054)的阶段成果。

摘　　要：毛文锡高才雅怀却身处乱世,不幸以《茶谱》和小词等文人“末技”留名后世。然毛文锡在词体始兴之时,自觉地将诗人之诗的传统带入到词中,深化了词的比兴寄托之意,丰富了词的题材和社会功能,形成了清丽疏越的词风,是花间词人中追求别调别趣的代表人物之一。他颇通音律,于词调多有改制或新创。按《钦定词谱》,以毛文锡词为正体10调,其中《赞成功》《接贤宾》《月宫春》3调《教坊记》未载,又一体8调;取毛文锡词句为词调别名3调,足见其对词体声律的创调定体之雅。Mao Wenxi lived in the troubled times, with high talents and elegant ideas. Unfortunately, he left his name in later generations with the skills of literati such as Cha Pu and Xiao Ci. However, Mao Wenxi consciously brought the tradition of poets’ poems into Ci when the style of Ci began to flourish, which deepened the meaning of comparison, enriched the subject matter and social function of Ci, formed the style of beautiful and sparse Ci, and was one of the representatives of Huajian writers who pursued different tunes and interests. He is proficient in music and has created many new tunes or styles. According to the records in The Imperial Dictionary of Ci, Mao Wenxi’s Ci is taken as the formal style of 10 tunes, among which, the three tunes of Zan Chenggong, Jie Xianbin, Yuegong Chun, and Jiaofang Ji are not recorded. This shows the elegance of his creation of the voice and rhythm of Ci.

关 键 词：毛文锡 《花间集》 词调 词律 

分 类 号：I207.23[文学—中国文学]