晚近词坛多元门径中的清真法度与创作实践

Qingzhen Ci-poetry Rules and Creative Practice in the Diverse Paths of Ci Circle in the Late Qing and Modern Era

晚近词坛在浙常交融的背景下,辅以新旧文化之争,词坛呈现多元门径。周济的“宋四家说”奠定多元门径的根基,王鹏运、朱祖谋等清季四大家、龙榆生、唐圭璋等现代词家在此基础上多有发挥、修正与拓展。作为学词门径之一的清真词,其精工博大、格调天成的清真法度被奉为学词之至境,陈洵、夏敬观、朱师辙、邵瑞彭、汪东等人在创作实践中积极效法。词人对清真词的追和实践可视为师法清真最直接的体现。晚近词人师法清真也往往存在着理论与创作实践的分化、男性词人与女性词人创作冷热不均等问题。

Under the background of the intermingling of the Zhexi and Changzhou schools of Ci,supplemented by the old and new cultural disputes,the Ci Circle in late Qing and modern era has shown a variety of paths.Zhou Ji’s“Four Great Ci theorists of Song”laid the foundation of the diversified disciplines,on which the Four Great Ci theorists of the late Qing Dynasty,such as Wang Pengyun and Zhu Zumou,as well as the modern Ci theorists,such as Long Yusheng and Tang Guizhang,have amended,revised and expanded their work.As one of the disciplines of learning Ci,the Qingzhen Ci,with its refined,broad,and heavenly style,is regarded as the supreme state of learning Ci,and has been actively practiced by people such as Chen Xun,Xia Jingguan,Zhu Shizhe,Shao Ruipeng,Wang Dong and so on.The pursuit and practice of Qingzhen Ci can be regarded as the most direct embodiment of the method of Qingzhen.In the late Qing and modern era,there is also a division between theory and creative practice,as well as a disparity of creation enthusiam by male and female poets.