诗学转向:清代词学过片之声律论与章法论

Poetical Turn:The Analysis about Guo Pian’s Rhythm and Composition of Ci in Qing Dynasty

清代词学过片论主要集中在声律论与章法论上。过片声律上主要着眼于美听,具体技法为合律、偷声与短韵,但思考角度上"声律"远重于"乐律",体现出诗学的影响痕迹。过片章法论多借用诗学术语,辞章结构上由重视承、启功能向注重转、合以及画龙点睛等作用转化,审美上则由"婉"到"健"转变,词意上要求由局部呼应到振起全篇,这些均体现出清代初期到中后期词坛的文本转向及诗化转向。

The theory of Guo Pian in Ci of Qing Dynasty mainly focused on the theory of rhythm and composition.The theory of rhythm mainly focuses on beautiful listening.The specific techniques are obeying the law,stealing and shortening the rhythm.However,the"sound rhythm"is far more important than the"music rhythm"in the perspective of thinking,reflecting the influence of poetry.The academic terms of composition mostly borrows from poetry,and its functions of structure change from starting and attaching to turning,combining and finishing,while aesthetically it changes from"morbidezza"to"vigorous",and its meaning demands from partial echo to full revitalization.All these reflect the textual and poetical turn of Ci in the middle and late Qing Dynasty.