王鹏运拟作《沁园春》与辛弃疾止酒词体式的文学接受

Wang Pengyun’s Imitation Writing Qin Yuan Chun and the Literary Acceptance of Xin Qiji’s Zhijiu Ci Style

辛弃疾的止酒词二首为《沁园春》词调开创了一种独特的经典体式,他将所写对象拟人化且与之对话问答,加以大量用典,使议论、戏谑中融汇了深沉悲痛之情.从宋到清诸多拟、和之作皆立足于这一模式,并在其基础上进行了创造性的接受,一是以联章形式将单向的告陈变为双向的对话,二是所咏写对象从具体的事物变为抽象的存在.清末王鹏运的“祭词”创作则集成诸种特色,又在抒情方面将自我的身世之感投射于词体的命运际遇,在议论方面通过词体的开口言说阐释尊体思想,促使这两方面的功能都得到极大拓展.《沁园春》止酒词的这一体式在不断接受和不断新变的过程中走向经典.

Xin Qiji created a unique classical format for the tune of Qin Yuan Chun Ci Poetry with two poems of Zhijiu Ci(quitting-alcohol Ci). He personified the written object and talked with it. He used a large number of allusions to blend the discussion and joke with deep sadness. From the Song Dynasty to the Qing Dynasty, many imitation works and reply works were based on this model and accepted it creatively. One is to change one-way statement into two-way dialogue in the form of joint works. And the other is to change the object from specific things into abstract existence. In the late Qing Dynasty, Wang Pengyun’s creation of "sacrifice Ci Poetry" integrated various characteristics. In terms of lyricism, he projected his sense of life on the fate of the Ci Poetry. In terms of discussion, he made the Ci Poetry speak and explain the thought of respectable style, which greatly expanded the functions of these two aspects. The Zhijiu Ci style of Qin Yuan Chun is going to classics in the process of constant acceptance and constant changes.