摘要
旧著中曾批评李清照《词论》“片面强调音律”、反对“以诗为词”。 本文反思旧说，认为：李清照对词的音律提出严格要求，也展示了词律有其自 由宽松的一面，并为以声律服务于抒情写景作出示范。从苏轼突破词律某些束 缚到李清照的强调音乐特征，是合于历史进程的辩证发展。宋词文学性与音乐 性结合的经验值得借鉴。在李清照对南唐君臣以至晏几道等词的评说中，反映 出她的审美兴趣非常宽广，力图兼采众美，以诗赋散文的表现手法来充实开拓 词境。
The author has criticized Li Qing zhao's Ci Lun for its 'overemphasis of rhythme' and 'oposing to make ci - poetry out of poems. ' Now, he reflects on his old statements and comes to be aware that the fort that Li Qingzhao made a strict demand on Ci-potery's rhythme reveals some free and tolerant side-lights in the part of Ci-poetry's rhythme, which has set examples for the rhythme to serve the lyrics and others. It conforms the dialectical development of art history so far as Su Dongpo broke out the confinement of Ci-poetry's rhythme, while Li Qignzhao made emphasis on it. Both the literariness and musicalness of Ci-poetry must be esteemed. In her Ci Lun, Li Qingzhao has shown a wide - spread interest in estheticism.
出处
《文学遗产》
CSSCI
北大核心
2001年第3期76-84,共9页
