明代选家视域中的小山词

XiaoShan Ci in the Perspective of Editors of the Anthology in the Ming Dynasty

明代选家对小山词的择取与接受在不同时期呈现不同特色。在词乐亡佚的词学背景下,选家择取声律谐婉的小山词编入词谱以为填词范式。早期词谱的编纂理念影响了明中期选家“婉约为正”的词学观念,促使以婉约宋调为选词主体的明版《草堂诗余》系列选本的盛行,选家视小山词为正宗。之后,选家有意改变《草堂诗余》系列较单一的选词标准,视域回归词风古雅的唐五代,扩大了以“花间、南唐”为宗的小山词选录。晚明时期,选家主张“性情至上”,采录晏几道的真性情之词,彼时选录的小山词堪称经典之作,后世品评不断。明代选家视域中的小山词之变化亦反映了明代词学演进的轨迹。

In the Ming Dynasty, the anthology editors′ selection of XiaoShan Ci took on different characteristics in different period. Due to the loss of Ci music, the selectors chose XiaoShan Ci with harmonic rhythm to be incorporated into the spectrum of Ci as the paradigm of Ci writing. The compilation idea of early Ci spectrum influenced the Ci concept that "tactfulness is righteousness" in the mid Ming Dynasty and promoted the popularity of a series of Ci anthologies of Cao Tang Shi Yu. XiaoShan Ci was regarded as authentic and widely accepted. Later, the selectors intended to break the paradigm of Cao Tang Shi Yu as the main body, returned to the quaint "Tang Sound" and expanded the anthology of XiaoShan Ci based on "HuaJian and Southern Tang". In the late Ming Dynasty, the selectors advocated "the supremacy of temperament" and collected Yan Jidao′s words of true nature and emotion. The XiaoShan Ci selected at that time could be regarded as a classic, which has been continuously evaluated by later generations. The change of XiaoShan Ci in the perspective of the anthology editors in the Ming Dynasty also reflects the evolution of Ci in the Ming Dynasty.