宋代同题唱和诗的文化意蕴——以一次有关琵琶演奏的小型唱和为例

The Cultural Connotation of the Song Dynasty's Responsory Poetry with the Same Subject——Take the Small Responsory of a Lute Performance as an Example

宋代同题唱和诗不仅具有切磋交流性、游戏性、竞技性,而且具有互补性以及深厚的文化意蕴。嘉祐二年,欧阳修、梅尧臣、韩维、刘敞、司马光等人为杨褒家琵琶女奴演奏《啄木曲》而作的五首唱和诗,就是同题唱和诗的典型范例。五首诗中传达出的宋代文人生活情状与雅趣、宋代乐奴的生存状态、宋代琵琶及器乐的演奏与流行,都展现出宋代诗歌十分具体乃至深厚的文化内涵。

The Song Dynasty＇s responsory poetry with the same subject was not only communicative, sportive and competitive, but also had the complementarity and the profound cultural connotation. In 1057 （the second year of Jiayou）, the five responsory poems that Ouyang Xiu, MeiYaochen, Han Wei, Liu Chang and Sima Guang wrote for Zhuomuqu （ Wood - Pecking Music） performed by the lute girl slave of Yang Bao family were the specific examples of the responsory poetry with the same subject. The Song Dynasty＇ s scholars＇ living conditions and elegance, music slaves＇ living existence as well as the performance and popularity of its lute and other instruments that the five poems conveyed all displayed the concrete and profound cultural connotation of the Song Dynasty＇ s poetry.