白居易《新乐府》的“歌辞造型”——兼论其艺术性的评价问题

On "Libretto Moulding" in BAI Ju-yi's Work of "Xinyuefu"——From a Perspective of Artistic Comment

白居易的《新乐府》有入乐之动机,却无入乐之事实,故本质上属准歌辞。本文提出"歌辞造型"的概念,认为白居易在《新乐府》中十分注重"歌辞造型",并以《七德舞》、《法曲》、《海漫漫》、《天可度》为例进行了分析。后世的许多研究者往往从评"诗"的标准出发,对白居易《新乐府》的艺术性提出一些批评如形式刻板、直白浅俗、冗长繁复、不合规范等,其实如果从歌辞的角度来看这些恰恰是其佳处。

BAI Ju-yi＇ s work ＂Xinyuefu＂ was originally created for being sung, but it actually was not sung by people. Therefore, it in form belongs to quasi-libretto. This paper defined the concept of libretto moulding and illustrated that BAI Ju-yi has ever put much emphasis on libretto moulding by taking BAI Ju-yi＇ s works ＂Qidewu＂, ＂Faqu＂, ＂Haimanman＂ as examples. Meanwhile, the paper revealed that many researchers nowadays based their points on the poem appreciation criticized that the problems of formalism, simplicity, prolixity, and informalizing appeared in BAI Ju-yi＇ s Xinyuefu. However, if we comment it from the perspective of libretto, all these are precisely advantages of his work.