论林纾的学词方法和词的创作

On Lin Shu’s learning methods and creation of Ci-poetry

林纾提倡多读词作,以便能精准把握古人词作用字,并根据自身创作实践提出填词应遵照古人词作而不遵照词谱的主张。他的词善于构造意境,有写实境、造虚境两种构造方法,实虚两境中都有意脉的流动,其词境主要是取法于南宋词萧疏荒寂的画境。他还提出“词中亦有画”的观点。这些与他作为画家的素养分不开。他用词敷写所译外国小说的人物与情节,将外国小说的语境做了中国文学传统语境的置换,引来赞美和仿效,是晚清民国词坛的新气象,在词史上留下鲜明的印记。

Lin Shu advocated reading Ci-poetry as much as possible, so as to accurately grasp the writing style of ancient Ci-poetry writers. Starting from his own practice, he believed that Ci-poetry should be written by following the works of ancient Ci-poetry writers instead of the Ci-poetry score. His Ci-poetry was good at constructing artistic conceptions, and there were two construction methods: realistic and virtual, in which images flow. The artistic conception of his works was mainly based on the bleak and lonely picturesque scene shown in the Ci-poetry of Southern Song Dynasty. He also came up with the view that “there are paintings in Ci-poetry”. These were inseparable from his accomplishment as a painter. He used Ci-poetry to describe the characters and plots of the foreign novels he translated, replacing the context of foreign novels with the traditional context of Chinese literature, attracting praise and imitation, which was a new phenomenon in the Ci-poetry world in the late Qing Dynasty and the Republic of China, and left a distinct mark in the history of Ci-poetry.