《九曲棹歌》及其历代和、仿作之比较研究

On Comparative Study of Nine Oaring Folk Songs and Joint Work,Replication of Past Ages

《九曲棹歌》自创作以来便受到后世文人的大力赞颂,数目颇丰的和作、仿作在审美观念、意象选取、个人心绪、文化意蕴等不同方面也进行了创新并在主题上有所深化,使得这些诗歌精彩纷呈又各具特色:宋代大体上沿袭朱熹叙述模式,但已有诗人另辟蹊径且效果显著;元、明代和、仿作的数量极为可观,部分诗歌已突显出自己的独特内容并出现了八句组诗,这无疑是对《九曲棹歌》的极大补充;清代的和、仿作数量较多,出现了"诗序合一"的现象,并且篇幅上较前代有明显增长,诗歌水平上出现了前代难以比拟的盛况。通过《九曲棹歌》及其历代和、仿作之比较研究,可以看出,九曲溪的自然风光由一开始的棹歌主体渐渐变成诗人谈论往事的"陪衬"与"中介",诗中的人、事、物实现了完美融合,这或许是棹歌创作由宋元及明清的一种发展趋势,既反映了武夷棹歌的嬗变轨迹,也是文学发展的必然。

Nine Oaring Folk Songs has been greatly praised by later literati since it was created,a large number of joint works and replications were also innovated in the aspects of aesthetics concepts,image selec-tion,personal emotion,and cultural connotation,and also were deepen in the topics,making these poems and songs more wonderful and special. In Song dynasty,Zhu Xiˊs narrative mode was inherited generally,but there were some poets who took unconventional approaches and got obvious effects. In Yuan and Ming Dynasty,joint works and replications were numerous,and some of them also highlighted their own particular contents and formed eight-sentence poems,which undoubtedly gave the great complementation to Nine Oaring Folk Songs. In Qing Dynasty,there were a lot of joint works and replications,which presented the phenomenon of integrated poems and prefaces,became longer in the length than before,reached the highest occasion at the level of poet-ry. Through the comparative study between Nine Oaring Folk Songs and joint works and replications of past a-ges,it can be found out that natural view of Jiuqu Storm gradually became the contrast and the medium of poetsˊtalking about the past events,and thus realized the perfect integration of human,events and things. This per-haps is one development trend of folk songs from Song,Yuan Dynasty to Ming,Qing Dynasty,reflecting the changing track of Wuyi folk songs,and the necessity of literature development.