【作者】 苏静；

【导师】 马大勇；

【作者基本信息】 吉林大学 ， 中国古代文学， 2020， 博士

【摘要】 论词绝句是以诗歌绝句的形式对词人、词作及词体本身进行评述或议论。由于绝句自身的体量不大,其所能表达的内容也是比较有限的,因此论词绝句的主题集中而凝练,主要是评析鉴赏某位词人或某部词集,或者以读后感的形式,表达作者阅读词作后的感悟和所思,或者是批评者针对某个争议较大的词学问题提出自己的见解。目前已知最早的论词诗是南宋刘克庄的《自题长短句后》,刘诗反映了南宋时期词体观念的新变,开以诗论词的先河。然而金元明时期论词绝句创作屈指可数,仅有王中立《题裕之乐府后》,元好问《题山谷小艳诗》,元淮《读李易安文》等少数篇章,直至清代论词绝句创作异峰突起,渐成规模。这与清代文学观念和创作实践的发展有关。极力扩大韵语文学的表现范围,是清人在面对古典文学发展至清代已“无体不备”的发展现状时作出的选择,这种自觉求新的意识表面上看是对文学传统的屈服和退让,而选择通过其他领域开拓新境,但实际上已孕育了超越和突破文学传统的要求及可能。在“另辟町畦”思想的驱使下,清代士人一方面进入戏曲、小说等主流文体之外的领域进行创作,另一方面也不断尝试以其熟识的文体容纳新的内容,而清代论词绝句的兴起也正是以此为背景。“清代论词绝句研究”意在通过研究论词绝句这一兼具诗歌文本和词论载体双重性的诗歌形式,发掘其所具有的文学价值和理论价值,并对清代文人学者的词学观念和创作心理进行探察。本文绪论部分对论词绝句的研究现状进行回顾,并概括说明本文的选题意义和研究思路。论诗绝句产生时代早于论词绝句,而且影响力也更大,论诗绝句从带偶然性的“戏为”“漫成”之作,转变为具有相对稳定形制的诗歌创作形式,并且从以诗论诗,延伸至以诗论画、论曲、论词等,因此可以说论词绝句是论诗绝句体式合乎逻辑的发展。第一章在对清代论词绝句发展进行历史分期的基础上,力图把握每一个历史阶段占据主导地位的理论形态和思想倾向,从而在清代文学和清代词学的大框架内实现对论词绝句发展历程的历史认知和建构。清初思想界仍以批判和反思明代王学空谈心性为主流,就词学而言,扫荡明词艳俗风气的同时也是新词风孕育成长的重要契机,相应地,清初论词绝句也以批评明词、评价清初词坛和反映对历代词的接受状况为主要内容;清代中后期的论词绝句创作与阳羡、浙西、常州诸词派的继起迭兴密切相关,这是因为不同时期词学派别对词坛的深远影响,已辐射到了论词绝句的创作内容和整体倾向;“词史”和“寄托”既是理解晚清词学的关键,也是理解晚清论词绝句的关键,一方面以地域词、闺阁词、国朝词为表现对象的论词绝句组诗创作渐成大观,另一方面晚清论词绝句创作逐渐显现出从词论向文学回归的趋势。第二章具体从创作主体身份和创作心理出发,探究在论词绝句发展过程中文学外部因素和内部因素的作用。论词绝句的创作主体构成呈现出多元化的特点,由于主体身份的差别,词派人物、文人雅士、词学名家和词选编者在进行论词绝句创作时,在诗歌内容和创作形式上也会各有侧重。从创作心理而言,以“戏题”“杂感”“偶成”为题的论词绝句创作,通过观点提出的非正式性,消解了正面批评当世人物的严肃感和紧张感;清代是一个博学重才的时代,而论词绝句以短小篇幅谈艺论道,能够彰显出创作者个体的诗歌技艺和知识学问;论词绝句还是作者读词、论词文学活动的产物,集中反映了清代文人尚雅避俗的文化心理。第三章侧重从个案分析的角度考察论词绝句的创作活动。厉鹗的论词绝句不仅集中反映了浙西词派的词学思想,而且厉鹗本人对论词绝句的运用有创制之功,因此可以说,厉鹗及其论词绝句创作在清代论词绝句发展史上具有重要地位;宋翔凤论词绝句“缒幽凿险”的解词方式,不仅是常州词派以治今文经学方式解词的范本,而且是清代论词绝句从评词(对风格的评论)向解词(对词意的解读)转变的关键一环;在清代诸多论词绝句作者中,从数量和规模而言,谭莹的论词绝句组诗创作都堪称第一,而且谭莹、潘飞声以论词绝句组诗形式构建岭南词史,对于拓宽论词绝句的批评功能具有积极意义。第四章主要分析论词绝句的文学价值。清代论词绝句作者在借鉴诗歌传统艺术手法和批评手法的基础上,探索形成了论词绝句独特的审美形式。论词绝句对诗歌艺术手法的借用主要体现为寻章摘句的语言形式,巧喻设譬的艺术构思,以及情理交融的审美特征。论词绝句的创作实践,在一定程度上反驳了认为论词绝句因“以议论为诗”而欠缺文学性的观点。第五章主要分析论词绝句的理论价值。这部分主要从理论内容和文体观念两个方面入手进行分析,就理论内容而言,词体起源、词体风格和批评鉴赏是论词绝句对清代词学贡献比较大的三个方面。此外,论词绝句的创作还反映了词学批评的“越界”问题,具体而言,可分为诗与论的结合,以及诗与词的结合。探讨论词绝句的“文体越界”问题,能够深化我们对清代词学批评“综合性”特征的理解。更多还原

【Abstract】 Quatrain commenting on Ci-poetry is to comment on Ci writers,Ci works and Ci style in the form of quatrains.Because the quatrain isn’t long,and the content of it is limited,the theme of quatrain is concentrated and concise.Quatrain commenting on Ci-poetry is mainly to comment and appreciate a certain Ci writer or a certain collection of Ci poem,or to express the author’s feelings and thoughts after reading,or to put forward the author’s own opinions on a controversial issue of Ci poetry.At present,the earliest poem commenting on Ci-poetry we know is Liu Kezhuang’s poem "after the Ci-poetry written by himself".Liu Kezhuang’s poem reflects the new change on the concept of Ci in Southern Song Dynasty,and it is the start to use poetry to comment Ci.However,there are only several authors of Quatrain commenting on Ci-poetry in Jin Dynasty to Ming Dynasty,such as Wang Zhongli,Yuan Haowen and Yuan Huai.Until the Qing Dynasty,the creation of Quatrain commenting on Ci-poetry reached its peak.It is related to the development of literary concept and creative practice in Qing Dynasty.Expanding the express scope of verse literature as much as possible,it was the Qing people’s choice in the face of the development of classical literature in Qing Dynasty.Apparently,this consciousness of seeking innovation is surrender or concession to the literary tradition.However,the choice to open up new realm through other fields has in fact given birth to the requirement and possibility of the breaking of literary tradition.Driven by the thought of breaking a new realm,the literati in Qing Dynasty entered into the fields of opera and novels which are different from the mainstream of literature;on the other hand,they tried to create new contents with their familiar literary forms.It is the background of the rise of quatrain commenting on Ci-poetry.This paper aims to explore literary value and theoretical value of the quatrain,and explore the Ci concept and creative psychology of literati in Qing Dynasty,which has the dual characteristics of poetry text and Ci theory.In the introduction part of this paper,the author reviews the research status of quatrain commenting on Ci-poetry,and summarizes the significance and research ideas of this paper.The generation time of quatrain commenting on Ci-poetry is earlier than that of quatrain commenting on Shi-poetry,and the influence is greater.On the change of quatrain commenting on Ci-poetry from occasional creation to relatively stable form,which is from commenting on poetry to commenting on poetry,opera and Ci in the form of poetry.Therefore,the quatrain commenting on Ci-poetry is a logical development of the quatrain commenting on Shi-poetry.In the first chapter,on the basis of the historical stages of the development of quatrain commenting on Ci-poetry in Qing Dynasty,the author tries to point out the dominant theoretical form and ideological tendency in each historical period,so as to realize the historical cognition and construction of quatrain commenting on Ci-poetry within the framework of Qing Dynasty literature and Ci theories.At the beginning of Qing Dynasty,the mainstream of the ideological circle was still to criticize on Wang Yang Ming’s theory in Ming Dynasty.As far as Ci studies were concerned,it was also an important opportunity for the development of the new style of Ci to sweep away the showy and vulgarity characteristics of Ming Ci.Accordingly,the main contents of quatrain commenting on Ci-poetry in early Qing Dynasty were criticizing Ming Ci,evaluating ideological circles and reflecting the acceptance of Ci from previous dynasties.The quatrain commenting on Ci-poetry in the middle and late Qing Dynasty is closely related to the successive rise and rise of Yang Xian,West Zhejiang and Changzhou schools of Ci.Because the profound influence of CI schools in different historical periods has radiated to the content and tendency of the creation of quatrain commenting on Ci-poetry."Ci history" and "sustenance" were not only the keys to understand CI studies,but also the key to understand quatrain commenting on Ci-poetry in late Qing Dynasty.On the one hand,the creation of quatrain commenting on Ci-poetry about region woman and contemporary writer had gradually form scale;on the other hand,the creation of quatrain commenting on Ci-poetry in late Qing Dynasty had gradually shown the trend of returning from Ci study to literature.In the second chapter,the author explores the role of external factors and internal factors in the formation and development of quatrain commenting on Ci-poetry from the perspective of creative subject and creative psychology.The creative subject of quatrain commenting on Ci-poetry presents diversified characteristics.Due to the difference of subject identity,Ci school characters,literati,Ci masters and Ci anthologists also have their own emphases in the content and form of poetry when they are writing on Ci poems.From the perspective of creation psychology,from the perspective of creation psychology,the creation of quatrains commenting on Ci-poetry with the titles of "drama","mixed feelings" and "accidentally formed",has eliminated the seriousness and tension of the positive criticism of contemporary figures,through promoting viewpoints informally.The Qing dynasty was a time when erudite valued talent,that quatrains commenting on Ci-poetry is talking about Yi and Tao in short highlights the individual knowledge and poetic skills.The quatrains commenting on Ci-poetry is the product of the author’s literary activities such as reading and commenting on Ci,which reflects the literati’s cultural psychology in Qing dynasty,which seek elegance and avoid vulgarity.In the third chapter,the author focuses on the creation of quatrain commenting on Ci-poetry from the perspective of case analysis.Li e’s quatrain commenting on Ci-poetry not only reflected the Ci thoughts of the West Zhejiang Ci School,but also had the creative function to the use of quatrain commenting on Ci-poetry.He had an important position in the development history of quatrain commenting on Ci-poetry in Qing Dynasty.Song Xiang feng’s complex way of interpreting Ci poems was not only the model of Changzhou Ci School’s way of interpreting Ci poems by new text Confucianism,but also the key link of quatrain commenting on Ci-poetry’s transformation from style comment to meaning interpretation.Among the writers of quatrain commenting on Ci-poetry in Qing Dynasty,Tan Ying’s quatrain commenting on Ci-poetries were the first in terms of quantity and scale.In addition,Tan Ying and Pan Feisheng used quatrain commenting on Ci-poetries to construct the history of Ling Nan Ci,and it had positive significance to broaden the critical function of the poems.In the fourth chapter,the author analyzes the literary value of quatrain commenting on Ci-poetry.On the basis of drawing lessons from the traditional artistic and critical techniques of poetry,the authors of quatrain commenting on Ci-poetry in Qing Dynasty explored and formed a unique aesthetic form of the poems.On the reference of artistic techniques of poetry in the quatrain commenting on Ci-poetry is mainly embodied in the language form of quotation,the artistic conception of metaphor,and the aesthetic characteristics of the combination of emotion and reason.To some extent,the creation practice of quatrain commenting on Ci-poetry refutes the view that quatrains are lack of literariness because of "taking comments as poems".In the fifth chapter,the author analyzes the theoretical value of quatrain commenting on Ci-poetry.This part mainly starts from two aspects including theoretical content and stylistic concept.As far as the theoretical content is concerned,comments about the origin,the style and the appreciation of Ci are three major contributions of quatrain commenting on Ci-poetry to the Ci study in Qing Dynasty.In addition,it also reflects the problem of “style crossing " in Ci study.Specifically,this problem can be divided into the combination of poetry and theory,and the combination of poetry and Ci.Exploring and discussing the "style crossing" problem of quatrain commenting on Ci-poetry can deepen our understanding of the comprehensive features of Ci study in Qing Dynasty.更多还原