梅兰芳与况周颐的听歌之词:民国沪上的艺文风雅

Mei Lanfang and Kuang Zhouyi's Poetic Works on the Theme of Watching Peking Opera:On the Shanghai Art and Literati in the Republic of China

况周颐早年寓居京城,与梅兰芳父亲过往甚密。1913年后,梅兰芳数度来沪演出,尤其是1920年,以梅兰芳为中心的香南雅集,不仅绘图以记其事,各家题图之作亦一时称盛。况周颐则从1916年开始作听歌之词,后合并此后数年之作而成《秀道人修梅清课》,其中《戚氏》《满路花》之外,以《清平乐》和《西江月》《浣溪沙》三组组词最具规模。况周颐的听歌之作不仅写梅兰芳的音容之美、演剧之高,也从中寄寓自己深隐的遗民情怀。以况周颐听歌之作为考察对象,不仅可以勘察其后期词在题材风格上面的新变,也从一个侧面可勘察民国沪上词人的艺文风雅及其遗老群体的共同心志,其价值值得充分肯定。

Kuang Zhouyi got along well with Mei Lanfang’s father when he lived in Beijing in his early years. Later after 1913,Mei visited Shanghai several times for giving performances. In 1920 the literati gathering'xiang nan ya ji'witnessed a grand occasion that the event was recorded in many drawings and poetic annotations of renowned artists.Kuang began to write poems about watching Peking operas since 1916 and compiled his works into a collection Xiu daoren xiu mei qingke,with three sets 'qing ping le,''xi jiang yue,'and 'huan xi sha'as representative works.Kuang poured his nostalgic feelings of the former dynasty into the description of Mei’s achievement in his artist looks and acting skills. Therefore this article takes this kind of poetic works as a case study to examine into Kuang’s subject shifting in his later creation,as well as the ideals of the adherents and some aspects of literati gatherings in Shanghai.