清真「以賦為詞」探論

Abstract

《清真「以賦為詞」探論》旨在透過「以賦為詞」的議題，來審視《清真詞》在藝術技巧上的繼承與開創，以及清真詞情獨蘊的特質，深入分析「清真詞法」的語言規律、策略與作用。文採取「以賦為詞」作為切入點，在了解「以賦為詞」對《清真詞》的影響之前，首先要釐清兩點。其一是「以賦為詞」所指涉的內涵為何；其二則是宋詞「賦化」的進程概況。經由探討「以賦為詞」之「賦」所具備的各種內涵，並考諸詞體「賦化」的進程，發現慢詞的章法句式受「以賦為詞」的影響深遠。柳永以降諸家，慢詞的形式結構、章法鋪陳、鎔裁成句、追琢語言等各方面的發展都與「賦化」有一定程度的關聯，成就了新的詞法通則，樹立了新的審美規範，然而都只呈現了「賦化」的某些特質而已。到周邦彥時，匯集前人之大成，章法極勾勒頓挫之妙，法度綿密而姿態橫生，在吸收了前人「以賦為詞」的藝術特性後，又重新賦予「以賦為詞」更純熟的創作表現，同時更為全面的發展「以賦為詞」各方面的技巧特質。清真詞法」即是在這些賦化的基礎上，於追摹前人的成就之餘，樹立新的詞法典範，賦予「以賦為詞」新的意義與視野。無論就藝術技巧的層面，或者詞情的特質而言，清真詞之「藝術技巧」與「詞情特質」的呈現都與「以賦為詞」彼此交互作用著，這兩個層面將是本文所著力探討的重心，期望在歸納《清真詞》文學語言的表現方式之餘，盡可能地闡釋語言策略下的表現效果，並分析「以賦為詞」與「清真詞法」之間緊密的相關性，看出《清真詞》如何渾然化用「賦」的特質同時保有詞體本身的美感特質以及語言節奏。究發現，「以賦為詞」是《清真詞》的主要創作特色，「賦」與「詞」是兩個易於相即相融的文體，可以使語言結構變化無窮，增添感官經驗的美感。種種表現適足以說明何以《清真詞》自宋朝以來即被許為「婉約詞宗」，實因《清真詞》一方面融通前人詞法而「集大成」，一方面成就「清真詞法」而成為南宋詞壇創作的圭臬，影響遠及清代。

This thesis will use the idea of “writing ci (詞) as rhapsodies (賦)” to discuss the artistic influences on and innovations of the Zhenqing ci (清真詞) as well as the distinct features of this work in order to look at the linguistic patterns and strategies Zhou Bangyan (周邦彥) uses in his ci. efore discussing the influence of this idea on Zhou’s ci, it will be necessary to discuss what is meant by “writing ci as rhapsodies”, and the general trend towards the “rhapsodification” of the ci genre throughout the Song dynasty. We will see that Zhou’s style of ci builds on the trend towards rhapsodification already begun by authors such as Liu Yong (柳永). While Zhou certainly emulates these earlier writers, he also develops his own distinct style of ci, thus giving the notion of “writing ci as rhapsodies” new meaning and a broader perspective. In Zhou’s ci, both artistic technique and aesthetic feel are articulated through this method of “writing ci as rhapsodies”. Having dealt with the historical context, we will move on to focus on these two aspects, technique and feel, of Zhou’s works.e will show that the creative impulse for the rhapsodification of ci in Zhenqing ci stems from the ease with which the genres of rhapsody and ci meld into one another. This allows Zhou to employ the characteristics of the rhapsody while preserving the aesthetic qualities and linguistic rhythms of the ci. All of this goes to show why the Zhenqing ci has been known as the “father of the wanyue ci” (婉約詞宗) since the Song dynasty. Namely, the work incorporates the strengths of previous writers in the genre to complete the a style that dominated the community of ci writers during the Southern Song dynasty and continued to have influence into the Qing dynasty.