从“泛情论”到“情爱论”——明代文人对民歌之“情”阐释的转向

The Shift in the Interpretation of “Sentiment” in Folk Songs by Scholars of Ming Dynasty

明代文人对民歌之"情"的阐释,体现出明显的从"泛情论"向"情爱论"的转向,而这一转向又是与其整体抒情观相联系的。概言之,李东阳、李梦阳能认识到民歌之"情"的价值,但将其阐释为广义之情,并存在着贵古贱今的偏见;李开先宣扬"今古同情",肯定当代民歌之"情",并点明其内涵为"男女相与之情";袁宏道则指出民歌之"情"实乃情欲,推崇其放任自恣的表达方式。从明代文人对民歌之"情"阐释的变化上,我们也能够对文学思想受社会思潮之影响有更深入的认识。

There is a clear shift from ＂universal emotions＂ to ＂love＂ in the interpretation of ＂sentiment＂ by scholars of the Ming Dynasty, which is closely linked with their holistic notion of lyric. In a word, though aware of the value of ＂sentiment＂ in folk songs, Li Dongyang and Li Mengyang were prone to interpret it as a generalized one and were biased in valuing folk songs of ancient times while belittling those of modern times. Moreover, Li Kaixian advocated ＂equal sentiments in both ancient and modern times＂, affirmed the ＂sentiment＂ in contemporary folk songs and clarified its connotation as ＂the passion of males and females to get along with each other＂ ; whereas Yuan Hongdao believed the ＂sentiment＂ of folk songs to be no other than lust and highly praised its laissez-faire ex- pression. From the shift in the interpretation of the ＂sentiment＂ in folk songs by scholars of the Ming Dynasty we can also have a further understanding of the impact of social trends on literary ideology.