论范仲淹承前启后的词史地位

On the Status of Fan Zhong-yan in the History of Song Lyrics

范仲淹留存至今的词作只有五首,但在词史上却有着极其重要的地位。词为"艳科",在初始阶段受儒家文学创作观念的压制,创作十分萧条。到了晚唐五代,道德评价体系崩溃,社会享乐成风,歌词创作走向繁荣,出现"花间"、"南唐"两大流派。入宋以后,道德评价体系重建,歌词创作尽量避开艳情,词坛再度萧条。宋真宗后期,适宜歌词创作的北宋享乐之风已经形成。范仲淹歌词创作就以这样的社会、文学风气转移为背景。范仲淹《渔家傲》咏边塞、《剔银灯》咏史、《定风波》咏景,题材宽泛,与艳情无关,与北宋前期词坛的创作风气合拍,表现了从晚唐五代至北宋前期词坛衰变的一个过程。然而,其《苏幕遮》借乡思写恋情,已经表现出向艳情题材的转移。《御街行》更是直接写男女恋情相思,题材上已经回到"花间"的传统上来,预示着宋词创作繁荣期的到来。范仲淹以道德领袖人物从事艳词创作,悄悄地改变着时人的文学创作观念,成为词史上一位具有承前启后作用的重要作家。

The only five song lyrics by Fan Zhong-yan left to us are very important in the history of song lyrics. Song lyrics are poor at the beginning because of Confucian thoughts but popular in the late Tang dynasty. In the early years of the Song dynasty,song lyrics have nothing to do with amorous affairs. In the reign of the Emperor Zhenzong of the Song dynasty,enjoyment is popular,which is fit for song lyrics. Fan Zhong-yan＇s writings of song lyrics reflect this evolution. In particular,the last two song lyrics are directly related with amorous affairs,indicating the prosperity of song lyrics in the Song dynasty. As leader of morality,Fan Zhong-yan＇s writings of song lyrics quietly change the literary ideas,thus becoming an important writer who inherits the former and opens the latter.