曲为吴越吟:清代浙江散曲考论

Research of Non-dramatic Songs in Zhejiang of Qing Dynasty

浙江乃清代散曲创作的重要场域。清初散曲家继承晚明余绪,在沈谦、陆进、朱彝尊等人的倡导下,奠定了宗法“清雅”散曲风格形态;清中叶浙江曲坛尊古与维新并举,厉鹗、吴锡麒等人在传统题材上力图展现自我风貌,题画、集句、自度曲的出现展现了曲家们力图新变的创作观;晚清之际,赵庆禧、许光治等名家开拓延伸了传统曲风,同时一批富有民族意识的浙江曲家以曲证史,革新图强,抒发家国情怀。清代浙江散曲以体格高标的姿态引领清代散曲风潮,展现出歌咏吴越的同时又关注邦国的大“乡邦”情结,体现了“求真尚实”“崇新立先”的浙学内涵。

Non-dramatic songs,Sanqu,were mainly composed in Zhejiang Province in Qing Dynasty.In the early Qing Dynasty,the composers inherited the legacy of the late Ming Dynasty,advocating the fresh and elegant style.In the middle of the Qing Dynasty,the artists paid equal attention to inheritance and innovation,with new forms,such as illustrated poetry,poems made up of lines from various poets,newly composed tunes.At the time of the late Qing Dynasty,they developed and enriched the style,embodying patriotism.Sanqu in Zhejiang lead the trend in Qing Dynasty with the grand style,expressing the composers’passion for home and country,“seeking truth and being true”and“inventing the new forms”.