词调研讨与技法革新:论陈维崧的后期词体创作

Study on Tone and Technical Innovation:On the Upper Ci Style Creation of Chen Weisong

康熙十一年(1672)后,陈维崧完成了词学理论建构与词体创作的转型,并再次对自身的创作实践予以整体上的研讨与革新,主要体现在词调和倚声技法两个方面。陈维崧有意识地以词存调,在后期词体创作中注重一调一词、一调一题和因情因事选调三个维度,可谓体认古人之词心,振兴今日之词学。倚声技法上,陈维崧对叙事模式和用典方法加以改造。前者或以联想作为行文铺排的内容来源,脉络相对隐晦;或以意象为脉,在事件堆叠中起到起承转合的作用,意脉纵横。这两种方式在表述上或如神龙在天一鳞一爪,或如雕龙之首尾完好,随物赋形。后者于事典、语典中奉行点事不点人、点人不点事的用典原则,以藏头露尾的技法达到古雅质朴的艺术效果。

After the eleventh year of the Kangxi reign,Chen Weisong completed the transformation of the theoretical construction of Ci and the creation of Ci style,and conducted a comprehensive discussion and innovation of his own creative practice,mainly reflected in two aspects:tone and techniques.Chen Weisong consciously used the form of Ci to preserve tone,emphasizing the three dimensions of one tone-Ci,one tone-topic and suitable tone with correct topic and emotion in his upper Ci style creation.It can be said to grasp the heart of Ci and revitalize Ci studies.In terms of relying on techniques,Chen Weisong modified the narrative mode and the method of using allusions.The former used association as the source of content for writing,with a relatively obscure context,or used imagery as the pulse,playing a role of continuity and integration in the stacking of events.The meaning pulse is crisscrossed,and these two ways of expression are either like a divine dragon scaling one claw in the sky,or like a carved dragon with its head and tail intact and shaped according to the object.The latter adheres to the principle of using allusions to point things,not people,and not things in allusions and language allusions,and achieves an elegant and simple artistic effect with hidden techniques.