宋代“戏作”词的体类及其嬗变

On the Genre of Playful Ci-poetry in the Song Dynasty and Its Evolution

作为宋词的一个独特品类,"戏作"词与俳谐词有交集,但不可混为一谈,二者在雅俗、有无讽刺意味等方面有所区分;至若以带有自谦或尝试意味为特征的"戏作"词则与俳谐词并无关涉。宋代的"戏作"词有戏人、自戏和戏物等三种类型,戏人词以调笑为基底,展示朋辈友情;自戏词通常是某种情愫如叹老嗟卑、感时抚事等的一种感发;戏物词的主要作者为辛弃疾。"戏作"词从北宋中期出现以后以迄南宋后期,在词调的取用等方面由简趋繁,表现功能上亦由浅转深,从初期的多止于娱乐,到后期的娱乐、社交、抒情言志等多种功能叠加。

Playful Ci-poetry （戏作） was a special genre in the Song Dynasty. Though it shared some similarities with humorous Ci-poetry（俳谐）, it had its own characteristics. Playful Ci-poems could be either refined or vulgar, and they could be either with or without ironic meanings. And they had self-depreciating, tentative and other meanings, which had nothing to do with humorous Ci-poems. Playful Ci-poems could be divided into three categories： the Ci-poems in which the author teased his friends to show their friendship; the Ci-poems in which the author teased himself to express his own sadness in old age or other sentimental emotions ; and the Ci-poems in which the author teased objects. Xin Qiji （辛弃疾） was the major writer of the object-teasing Ci-poems. There was a changing process from the late Northern Song Dynasty to the late Southern Song Dynasty, during which the tonal patterns and rhyme schemes of playful Ci-poetry.became more and more complicated, and its function also changed from amusement to social contact, expressing the author＇ s aspirations and emotions.