在唱和中“逼出妙思”——明清之际词坛中兴的运行模式

Forced out Genius in Antiphon: The Reviving of Ci Writing in the Late Ming and Early Qing Dynasties

唱和是诗词创作的一种常见方式,因其"束缚才华"而存在诸多弊病,故历来毁多誉少,但明清之际盛况空前的词体唱和,却成为词坛中兴的运行模式。该模式的主要功能有二:一是聚集易代之际的"同人",进行情感上的沟通与共鸣,在共鸣中,不仅激发文人的填词热情,使"一切诗人皆变词客",而且都直面时代与人生,在内涵上获得广度与深度,使唱和主题具有潜发性而引领创作的主题取向;一是在情感共鸣与艺术交流的双向作用下,融"因文生情"与"因情生文"于一炉。既使唱和者的艺术个性与才华得到了舒展与锤炼,能"逼出妙思",从同立异,自创一格;又在词学主张上冲破定于一尊的宗旨,孕育新的词风。它引领创作风格的新变,最终推进词坛中兴之盛,是在唱和史上树立全面推进创作繁荣的一个成功范例,为考察唱和的得失成败提供一个典型的正面案例。

Antiphon is a common way in poetic writing. It received a mixed reputation that was more negative than positive as it had curbed on one＇s talent. However the most popular poetic antiphon in the late Ming and early Qing dynasties was an exception that it greatly pushed forward the reviving of ci writing （lyrics）. First, it gathered a generation of literati who enjoyed the similar compassion and sympathy. Their enthusiasm of ci writing had been stimulated in emotional resonance that enabled ＂all poets turning into ci writer. ＂ Faced with the time and life, they achieved depth and extension in inwardness communication, leading up to potential themes. Second, in the two-way effect of emotional resonance and artistic exchange, works and emotion yielded each other, which encouraged poet＇s individuality and forced out creative genius. New styles were born; new changes appeared. It eventually led to the renaissance of ci poetry and invented itself as a successful sample in the history of lyric antiphon.