论宋词中的“骚”、“辩”之旨

On the Principles of “Sao”and “Bian”in the Ci-poetry of SOng

黄庭坚、张耒初揭宋词的诗人之旨，《复雅歌词序》以“蕴骚雅之趣”表明了“复雅”的历史指向，经胡寅将词曲上溯《楚辞》，到刘克庄终有芳草美人之旨的词作理论总结。相对而言，北宋词较多“贫士失职而志不平”的感慨，而《九辩》的悲秋、伤离也衍化为词中的题意。“靖康之变”后的南宋，词旨才真正实现了由“辩”而“骚”的转移，并造就出一个表现此旨的创作群体。辛弃疾、陈亮等在《离骚》“艳情”、“咏物”二体上尤见发展。“骚”、“辩”之旨入词在宋词史上具有超越豪放、婉约风格学的意义。

Famous Ci-poets Huang Tingjian and Zhang Lei at first proclaimed the principles of “Sao”and “Bian”in the Ci-poetry written in the Song dynasty in their preface to the collection Fuya geci,whose historical destination(dating back to Qu Yuan's Li Sao and Song Yu' s Jiu Bian)was finally and theoretically concluded by Hu Yin and Liu Kezhuang. One of well-known tratis in this literary tradition is called the symbolical method of “beauty and fragrant grass”.Relatively speaking, the Ci-poetry written in the Northern Song dynasty have more affinities to Jiu Bian, where the“autumn melancholy”or“indignation of the poor”are frequently seen.Only when it came to the Southern Song dyasty after the“Jingkang event”,were themes of Ci-poetry practically transfer red from“Bian”to“Sao”and came into being a large group of Ci-poets who were fond of such kind of themes,such as Xin Qiji,Chen Liang and the like,who developed especially the expressive methods of “affection”and “objective correlates”formerly used in Li Sao. The significance of the principles of “Sao”and “Bian”adopted in the Ci-poetry written in the Song dynasty, surpassed the stylistic one of two principal schools of Ci-poetry,i.e.those of “gallant”and“elegant”styles.