東坡詞之體類研究

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题名:	東坡詞之體類研究 A Study of Dong-Po`s Lyric Poems Genre
作者:	蘇心一
贡献者:	中國文學系
关键词:	蘇軾詞 SU,SHIH
日期:	2017-06-15
上传时间:	2017-08-09 13:18:59 (UTC+8)
摘要:	文學史上備受眾人關注的奇葩——蘇軾（1037～1101），字子瞻，四川眉山人，自號「東坡居士」，堪稱為中國文學史上罕見全才。東坡居士不但是古代文化巨人，更是體現宋代文化精神的典型。其身蘊含中華民族精髓，是後人公認中國數千年歷史文學、藝術造詣最傑出的大家之一。高居二十世紀宋代詞人研究排行榜第一名。詩、文、詞、賦、書、畫都成就非凡，是千古難逢英傑。對詞壇的歷史性貢獻卻超過其文與詩對文學史的傑出貢獻。因為想跟柳永（987？～1053？）一較高下，對詞體進行全面性的徹底改革。他使詞從原來的音樂附屬品轉變成獨立的抒情文體，讓詞不再只是歌樓酒肆滴粉搓酥之作。詞的長調正式成立，其詞體類繁多，「詞體」是指小令、中調、長調。一般58字以下者為「小令」，59字至90字為「中調」，91字以上者為長調。畢生填75種詞牌，承襲舊調者48，增衍節拍者2，變舊曲做新聲者共10種詞牌，自度新腔者15種詞牌。共填344闋詞，222闋小令，78闋中調，43闋長調，填了39種小令詞牌，20種中調詞牌，20種長調詞牌。以數字看，蘇軾詞以小令居多，幾乎佔三分之二，但他已是繼柳永之後填最多長調的宋人。讓詞由小令正式敷衍成長調，詞有了更廣大的空間。「詞類」是內容，舉凡宴賞、送別、懷古、寫景、登臨、悼亡、道況、遊仙、詠史、詠物、離別、回文，十二類，無不具備。氣格高朗，波濤壯闊，舉凡懷古感遇、倦遊思歸、寫景紀行、悼亡念遠、宦情悵觸、哲理探討、唱和贈答、詠物題辭、禪機參悅、登臨遊覽，絢麗輝煌，幾乎無所不包，全部展露毫端。成就輝煌，其體類值得加以詳細探討。 SU, Tungpo, a unique rounder literati in Song Dynasty, first presents his argument of “Write figurative cih depicting scenes; create freehand painting expressing cih spirit”, in his postscript on appreciating paintings. In fact, this argument reflects a precise image of himself as a writer. Far beyond “Write figurative Shih (poem) depicting scenes; create freehand painting expressing Shih spirit”, he demonstrated his performance in “Write figurative cih depicting scenes; create freehand painting expressing cih spirit” with many forms of paintings for his Cih works.SU, Tungpo enjoys writing calligraphy and creating ink painting with writing brushes partly out of his gifted talent in fine arts and party out of emersion in his father’s modeling and demonstration since his childhood. Having appreciated calligraphy works and ink paintings jointly with his father, SU, Hsun, during his childhood, he grew profound interest and developed insightful observation and appreciation skills. As a result, among all of his works in Shih and Cih created in the next years there is nothing short of the features of depicting the Sentiment and depicting the atmosphere seen in “Write figurative cih depicting scenes; create freehand painting expressing cih spirit” phenomena. Among his works are nothing short of Open and Deliberating, or Delicate in Feeling, or Neat and Orderly, and each work coming in one of a kind fashion. Simply put it is his variety in the features that makes his Cih works exceptional and indispensable. Even nine hundred years later, appreciating the heavenly painting atmosphere behind each of his Cih work always ranks as top choice for any reader experiencing a low mood. And it is why this study aims to study the various types of SU, Tungpo’s works referred to as “Write figurative cih depicting scenes; create freehand painting expressing cih spirit”
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