论《六州歌头》由冷趋热而名作无多的原因  

On The Reason Why“Liuzhou Getou”Has Become Hot Yet Few Famous Works Appears

作　　者：魏耕原[1,2] 张媚东 Wei Gengyuan;Zhang Meidong

机构地区：[1]西安培华学院人文与国际教育学院,陕西西安710065 [2]陕西师范大学文学院,陕西西安710119

出　　处：《南京师范大学文学院学报》2023年第3期56-65,共10页Journal of School of Chinese Language and Culture Nanjing Normal University

摘　　要：宋代《六州歌头》的“示范名作”为贺铸、张孝祥作品。继二人之后,虽有词人填写此调,却未再出现名作。这一方面是因为后续词人所选题材不再适宜原调风格。再者,《六州歌头》三言句群偏多,且韵脚密集,旋律紧凑。词人对三言句群的大规模删减及长句式的插入促使此调丧失本色。加之南宋词人以文为词、以对话为词的章法改造,《六州歌头》已基本偏离豪放格调。通过比较此调与其他长调的句群搭配,可再度凸显《六州歌头》变体之作形成的差距缺失。它们进一步衍生出词体歌、辞关系的重要问题。The“model masterpieces”of Ci poems bearing the name“liuzhou getou”in Song Dynasty are those by He Zhu and Zhang Xiaoxiang.After the two poets,no more famous works have appeared albeit many poets still filled Ci in this tune.The reason is that the themes chosen by the subsequent Ci writers are no longer suitable for the original tone style.“Liuzhou getou”has a large number of three-character sentence groups with dense rhymes and compact melody.The massive deletion of three-character sentence groups and the insertion of long sentence patterns caused the tone to lose its natural color.In addition,poets in the Southern Song Dynasty took prose and dia⁃logue style in their Ci composition,so“liuzhou getou”basically deviated from its original bold style.By comparing this tone with other long tone sentence Ci poems,we can again highlight the gap formed by the variation of Ci bearing this name.These further derived the important problem of the relationship between ci style and ci poems.

关 键 词：《六州歌头》 词调特色 冷热变迁 歌、辞关系 

分 类 号：I206.2[文学—中国文学]