宋人的乐府观与乐府诗创作——前者以宋人三部总集为例

A Study on the Views of the Music Conservatory and the Composition of Yuefu Poems in the Song Dynasty——The former Takes Three Anthologies in Song Dynasty as an Example

姚铉《唐文粹》、李昉等《文苑英华》、郭茂倩《乐府诗集》三部宋人总集,均对汉唐乐府进行了关注,其中尤以《乐府诗集》共12大类5205首乐府诗之量,而为时人与后人所称道。但三部总集在对唐人乐府诗的收录方面,却存在着诸多不同之处,表明姚铉、李?、郭茂倩等人对于"乐府"的认识并非一致,更有甚者是模糊不清。宋代的乐府诗主要由旧题乐府与新题乐府两大类构成,而新题乐府又有即事类乐府、宫词类乐府、歌行类乐府、竹枝类乐府之分。宋代诗人创作乐府诗不在其乐府诗题中冠"乐府"或"新乐府"字样者,既与其没有这种创作习惯相关,又与受李?等人于《文苑英华》中之模糊不清的乐府认识有着一定联系。而此,即构成了宋代乐府诗的一种特殊性。宋代的乐府诗还具有可配乐而唱的特点。

The three general collections of Yuefu（the Music Conservatory） poems, i.e.Tang Wen Cui（Essence of Tang Literature） by Yao Xuan,Wen Yuan Ying Hua（Blossoms in Literature） by Li Fang,and Yue Fu Shi Ji（A Poetry Anthology of Yuefu） by Guo Maoqian,all paid attention to Yuefu poems from Han to Tang Dynasties,with Yue Fu Shi Ji in particular collecting 5,203 poems in 12 categories and being honored by later generations.However,the three versions vary largely in the collection of Tang Yuefu poems,which suggests that Yao Xuan,Li Fang,and Guo Maoqian had different views on the Yuefu（the Music Conservatory）,and even vague understanding on it.Yuefu poems in the Song Dynasty consisted of two categories： the old subject Yuefu and the new subject Yuefu,which in turn could be classified as spontaneous Yuefu,palace Yuefu,chanting class Yuefu,and bamboo class Yuefu.Poets in the Song Dynasty did not entitle their poems as Yuefu or new Yuefu when they composed poems was partly because they didn＇t have such convention,and partly due to the vague understandings about Yuefu in Li Fang＇s Wen Yuan Ying Hua.This constitutes the unique feature of Song Yuefu poems.Yuefu poems in the Song Dynasty also had the character that they could be sung to music.