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1、安徽大学 硕士学位论文 戈载词与词学思想研究 姓名：黄春 申请学位级别：硕士 专业：中国古典文献学 指导教师：鲍恒 2010-05 I 摘摘 要要 词作为中国古典文学样式之一，最初产生于民间，兴于隋唐，盛于两宋，衰 于元明，而清代词，无论从作品还是作家的数量上看都呈现出一种复兴的态势。 考察词的萌芽、兴盛、衰微、复兴的过程，可知词与音乐有着密切的联系。词因 和乐之需而可歌、可演，因此而具有娱情、抒怀的社会功能，从而获得较为广泛 的群众基础，后经文人的加工而逐渐雅化，在两宋时达到其发展的顶峰；元蒙入 侵后， 乐谱的遗失， 伎人的逃散， 语音体系的变化， 新的音乐文学曲的出现， 都促使词的音乐性的
2、逐渐丧失，随之而来的是元明时期词的衰微。 清代词人痛心于元、明时期词的衰亡而奋起振救之，戈载作为其中一位杰出 的代表，他试图通过提出严守韵律的理论主张来维护词之本体性特征音乐 性，通过制定词韵书词林正韵为学词者确立一个统一的声韵规范，匡正人们 用韵的谬误，他明确提出严守声律的词学观点：强调讲究韵律的重要性，主张严 格地区分词韵与诗韵、 曲韵， 强调严审入声等等。 他所走是与李清照 “别是一家” 之说以及南宋格律派一脉相承的“尊体”之路，从这个意义上说戈载是词之传统 的“守望者”与“维护者” 。在他的影响下形成以严守声律为理论和创作核心的 后吴中词派，戈载的词学理论还影响到清代后期和民国初年的词
3、坛。从词学史的 角度看，戈氏还开启了词韵之学。 戈载还积极地通过自己的创作去实践自己的理论主张， 虽然历史上许多词评 家批评他的词作是“严守韵律以致词情不彰” ，但是他的词集中也有大量的“文 字音律， 两臻绝顶” 的佳作。 戈载还通过编辑词选为倚声者指示一条进入 “雅音” 的路径，在选词时，形式上他坚持严格的韵律标准，内容上他继承浙派尊姜张， 崇骚雅的词统，同时以周邦彦之“浑厚”和吴文英之“密丽”补救浙派空枵不实 之弊。 关键词：关键词：戈载；音乐性；声律派；风雅 II Abstract The “ci” evolves from the people at first as one of t
4、he Chinese designs of classical literature, revitalize on Sui and Tang dynasties, hold on two Song, decline until yuan bright, and no matter from works, or writers quantity demonstrate a kind of situation of Renaissance Qing Dynasty. Investigate the rudiment of the word, course of prosperity, rejuve
5、nation on the decline, can know the word has close contacts with music. Word can song, can perform,mass foundation it is which obtain extensive because of having situation of giving pleasure to, function of pouring out ones heart, and then but gradually refined to take by processing of scholar, reac
6、h summit of development its when two Song. Yuan cover with invade, loss of music book, skill escape of people, pronunciation change of system, new music literature -Appearance of song, impel gradual lose of music of word, a following one yuans of bright period word on the decline. Clear pronoun peop
7、le distressed on yuan, bright period decline and fall and rise, shake, rescue it of word, dagger-axe as among them one remarkable representative, attempt to safeguard the noumenonn characteristic of the word by putting forward and guarding the theory of the metre in verse rigidly and advocating year
8、 -Music, he establishes a unified sound norm for the person who studies word through making the book of rhyme of poems “ straight musical sound of forest of the word “, rectify people spend falsehood of musical sound, he propose, guard rigidly sounds of word of law study the view clearly, put emphas
9、is on the importance of paying attention to the metre in verse, maintain that distinguishes the rhyme of poems, rhyme, song musical sound strictly, put emphasis on examining and entering sound severely. What he walk “ maybe one “ saying, and rules and forms send Luis of “ a of body “ that come down
10、in a continuous line the Southern Song Dynasty with Li Qingzhao, traditional “ persons who keep watch “ and “ guardian “ that the dagger-axe is the word in year in this sense. Form back Wu middle term group taking guarding a sound of law rigidly as the theory and core of creating under the influence
11、 of him, dagger-axe word for year study theory influence will it be later stage Qing Dynasty and the Republic of III China circle where to write words to a given melody for the early years still. Look in term of studying the history in word, the dagger-axe has also opened the studying of rhyme of po
12、ems. He go own theory of practice maintain through ones own creation actively also, though a lot of word comment house criticize word of him for make “ guard rigidly metre in verse and clear to make a speech feeling “ in history, but his word has a large number of fine pieces of writing of “ the tem
13、perament of the characters, two is very attained “ to concentrate on. Dagger-axe elect through editor word as person of rested on point out one route to enter “ refined transliteration “ still year, he adheres to the strict standard of metre in verse while selecting the word, inherit to send a ginge
14、r, one in Zhejiang, high to disturb refined word wind, and “ dense and beautiful “ of WenYing Wu remedy Zhejiang send the empty Xiaos unureal fraud with week Nation “ simple and honest “ of swallow at the same time. Key words：Gezai; musical； sound legal faction； graceful 引言 1 导 言 导 言 词源于唐，兴于五代，盛于宋，衰
15、于元明，中兴于清。清代词，无论从词人 还是作品数量上看，都超过了之前的任何朝代，可谓流派纷呈，词作众多，而从 事清代词学研究的近现代学者也越来越多， 他们或从史的角度关注清词的发展与 演变，或研究某个流派的词人共同的风格特征，审美倾向，或专注于某个词家的 词学观点，个人创作等等。 清词的中兴除了有政治、经济等方面的因素外，还有词自身发展演变规律的 内在原因。从词与音乐的关系上看， 二者联系密切，无论词的产生、发展、衰 微都跟音乐有关，词产生之初，词作为综合艺术的一部分，由于其可歌，可演性 而为民众所接受、喜爱，后因文人参与其中，促使词逐渐雅化，加之他们对作品 内容和艺术形式等方面的不懈追求，词
16、终于在两宋时期达到其发展的高峰，南宋 时由于元蒙的入侵，社会的动荡，乐谱的佚失，伎人的逃亡，词作和乐的条件逐 渐丧失，词逐渐丧失了乐律方面的规范，加上语音的演变，词在元明时期逐渐衰 敝。因此，总体上看词因合乐之需具有娱情功能而逐渐兴盛，又因与音乐走向分 离，失去音乐的凭籍而丧失广泛的群众基础逐渐走向衰敝，词的整个发展演变的 过程，始终受到音乐的影响与制约。 清人痛心于词的衰亡而奋起振救之，清人振兴词学呈现出两种不同的轨迹， 一是重作品内容，轻艺术形式。这条道路是与苏辛一脉相承的，然而这种尊体是 以牺牲词的本体性特征音乐性为代价的，因而招致批评，词也因此逐渐弱化 了与古文诗赋的内在区别，有人评价这种尊体之路时说 “词之体始尊，词之真 亦渐失” 。二是通过严守声律的方法积极追求词的音乐美。这与李清照，南宋格 律派一脉相承，这种尊体有时也因过渡讲求形式而忽视作品内容而备受指责。戈 载的声律论词学观点就是针对重作品内容轻艺术形式的弊端而提出的。 乐谱佚失 之后，词失去音乐的凭籍，音乐性随之弱化，词的音乐美需要通过韵律规范来体 现，所以研究戈载声
