《淮海词》的用调特征及其词调史意义  

The Characteristics of Tone Usage in Huai Hai Ci and Its Significance in the History of Tone Usage

作　　者：朱惠国[1] 石佳彦 ZHU Hui-guo;SHI Jia-yan(Department of Chinese Language,East China Normal University,Shanghai 200062,China;Xuelin Publishing House,Shanghai 200235,China)

机构地区：[1]华东师范大学中文系,上海200062 [2]学林出版社,上海201101

出　　处：《河北学刊》2023年第3期105-112,共8页Hebei Academic Journal

基　　金：2018年度国家社会科学基金重大项目“明清词谱研究与《词律》《钦定词谱》修订”(18ZDA253)。

摘　　要：秦观《淮海词》留存完整词作96首,实际用调48种,从整体上看,具有用调分散、选调丰富的特点。秦观在北宋熙宁、元丰年间作长调较多,元祐、绍圣后却骤然减少,与当时长调逐渐增多的大趋势并不一致。这种情况与秦观的创作内容、生活处境、词作风格有着紧密关联,也受到了苏轼、柳永的影响。秦观颇通音律,有不少自创的词调和体式,依《钦定词谱》,首见于秦观的词调共有6个,这些词调在后世虽然没有广泛流传,但也不乏应和者,存在一些变体。除创调外,秦观尚有创体11种。秦观所创体式,改动之处虽不多,但对后世的影响较大。后世应和者大多能够遵循秦观的声情和体式进行创作,并在秦词的基础上产生了不少变体和别名。究其原因,一方面与秦观的词坛地位和词作的传唱程度有关,另一方面也说明词人的改动大多符合音律而受到后世词家的欢迎与响应。Qin Guan’s[WT5BX]Huai Hai Ci[WT5BZ]retains a complete collection of 96 poems,with 48 actual tones used.During the Xining and Yuanfeng periods of the Northern Song Dynasty,Qin Guan wrote more long tunes,but after Yuan You and Shao Sheng periods,there was a sudden decrease,which was not consistent with the trend of gradually increasing long tunes at that time.This situation is closely related to Qin Guan’s writing content,life situation,and style of poetry,and is also influenced by Su Shi and Liu Yong.Qin Guan was proficient in melody and created tones and forms by himself,which had a significant impact on later generations.The reason for this is not only related to Qin Guan’s position in the Ci world and the level of transmission of his works,but also indicates that most of the changes made by Qin Guan conform to the rhythm,which were welcomed and responded to by later Ci writers.

关 键 词：秦观 《淮海词》 词调 创调 创体 

分 类 号：I207.23[文学—中国文学]