从“蓓蕾初放”到“烂漫极矣”——明清之际词坛中兴历程

On the Revival Course of Ci in Late Ming and Early Qing Dynasties

继两宋以后的词坛再盛始于明万历后期,止于清康熙二十年前后。在此期间,就词的"体格性分"的演进而言,大致经历了三个阶段:约自万历后期至崇祯年间,《诗余图谱》《啸余谱·诗余谱》以及其他词谱盛行于词坛,改变了入明后词失"法度"之弊而词学复明,词体体制意识趋向自觉,为词的中兴奠定了不可或缺的基石;约自明天启至清顺治年间,词坛开始突破以往唯《草堂》《花间》是从、唯婉约"正声"是尊的单一逼仄的局面,"变调"始行其道,给词坛吹入了一阵清健之风,初步构建了"正""变"兼尊并举和众体兼备的多元格局;约自顺治末年至康熙二十年前后,这一多元格局得到了充分发展,尤其是各类"变调"得到了发扬光大,形成了强劲的态势,与各类风雅"正声"争奇斗艳,异彩纷呈,呈现出"正""变"交相辉映的鼎盛景象。

After Northern Song and Southern Song Dynasties,Ci poetry flourished once more between the late period of Wanli Emperor（1572-1620）in Ming Dynasty to around the 20 th year of Kangxi Emperor（1662-1722）in Qing Dynasty.During this period,the evolution of style and metrics of Ci underwent three stages.1.In the period between Ming and Qing Dynasties,the noumenon of Ci underwent atransition from recovering the standard of rhythm to the diversified patterns of style and form.In Ming Dynasty,″Ci for Qu″caused the indistinction of Ci and Qu and the non-existence of the tones standard of Ci.From the late period of Wanli Emperor（1572-1620）to Chongzhen Emperor（1627-1644）,with the prevalence of Pictorial Tunes of Ci by Zhang Yan and Xiaoyu Tune：Tunes of Ci by Cheng Mingshan,the tones standard of the rhythm of Ci became more dominant,which taught Ci poets how to compose a poem to a given tune of Ci,which in turn standardized Ci poetry,and established a solid foundation for the reviving of Ci.2.Representative Ci collection in Ming and Qing Dynasties such as Yisheng Chuji exemplified the content and the style of Ci,and the co-existence of the″standard tones″and the″modified tones″from the last years of Ming Dynasty to Shunzhi Emperor（1638-1661）.In this period,Yunjian Ci School,which was based on the Ci poetry of Ming Dynasty,revived standard tones of Feng and Ya by entirely inheriting the restrained and graceful standard tones of Southern Tang and Northern Song Dynasties.On the contrary,Liuzhou School revived the poetic style of the″modified tones″by directly inheriting the modification which started from Su Shi and flourished in Southern Song Dynasty.Although the force of the standard tones was greater than that of the modified one,multiple patterns emerged and an era of prosperity was ushered in.3.After the period of Kangxi Emperor（1662-1722）,the various″standard tones″became the principles for the poets who adhered to the″original simplicity approach.″Meanwhile,various modified tones yielded unusually brilliant results and contrasted finely with standard tones.Roughly in 20 th year of Kangxi Period,Ci poets created a large number of Ci works and Ci collections.It was a golden period of great prosperity of Ci-poetic Circles.In summary,from the last years of Wanli Emperor to the early years of Kangxi Emperor,Ci-poetic Circles grew from buds to full blossoms.However,this thriving period did not last long,and the curtain slowly fell after 20 th year of Kangxi Period.