慕古与尚俗共存——元明清齐鲁曲学观念探析

Worshiping Ancient Traditions and Respecting Creative Customs——An Analysis of the Concept of Qilu Sanqu in Yuan, Ming and Qing Dynasties

曲学观念主要包括散曲名称与体制的确立,散曲的雅俗、南北、文律之争,散曲的地位与功用诸问题。元明清齐鲁散曲家有作品流传或见于记载的约四十余人,他们的曲学观念一方面体现在序跋及论曲专著中,一方面体现在创作中。而这些观念是在推尊曲体的慕古意识与尚俗求真的自主选择共存的格局中生成。散曲名称、体制的内涵与外延在明清已经相对明确;散曲风格以雅俗兼备为上,北南曲风刚柔有别,文辞与曲律合之为双美;散曲地位尴尬,功能由风化、抒情向实用演进。齐鲁曲学一方面自觉地将散曲的源头追溯到诗三百篇,力图恢复元声古乐,是慕古意识的呈现,另一方面倡真情反模拟重创新,体现了散曲艺术发展的必然要求。齐鲁曲学观念就是在慕古意识与尚俗求真共存的格局中生成且逐渐成熟。

The concept of Qilu Quxue in the Yuan,Ming and Qing dynasties is mainly reflected in the preface and works. The connotation and extension of Sanqu’s name and system have been relatively clear in the Ming and Qing dynasties;the style of Sanqu is based on elegance and vulgarity. the North Sanqu’s style and South Sanqu’s style is different from each other. The best Sanqu are those combined by the beauty of the words and the melody;the status of Sanqu is awkward,and the function evolves from moralizing and lyrical to practical. Qilu Sanqu reflects the co-existence of chasing ancient and cherishing custom.