宋詞次韻形態與詞體演進

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 從外在形態上看，宋詞次韻從同時次韻，發展至後世追和，包含了次己韻、反復次韻等諸多形式。蘇軾是第一個大規模創作次韻詞的作者，在次韻詞的發展史上意義重大。宋代被次韻最多的詞人，首推周邦彦與蘇軾，這代表了詞學演進的兩條路數。北宋時本色派詞人少有次韻之作，在南宋時次韻開始被所有詞家接受，這也是詞逐漸案頭化、最終發展成爲一種新文體的明證。由於詞乃音樂文學的原因，宋詞次韻在内在形態上與原作往往不盡一致，這種差異，反映在字數、句法、用韻等諸多方面。故前代學者依據次韻詞校勘詞籍，存在一定的問題。從次韻的角度分析蘇軾的“以詩爲詞”，可見其詞整體上仍受到音樂的制約。次韻詞反映並促進著詞調體式的定型化，最終詞發展成爲獨立於詩之外的新文體。 Su Shi (1037 1101) was the first poet to write a large number of responding ci-poems adopting the original poem’s rhyme (ciyun) and was significant in the development of this particular poetic form. Zhou Bangyan (1056 1121) and Su Shi are two poets whose works attracted ciyun most frequently in the Song Dynasty. In the Northern Song, poets of the “school of original color” wrote only a small number of ciyun poems, but poets began to accept this form of writing in the Southern Song Dynasty. As ci-poetry is a kind of music literature, the form of ciyun would not be consistent with the original poem for ciyun. They differ in the number of characters, syntax, rhyme, and so on. For this reason, there is a problem in the collated texts of ciyun poems by scholars of the older generations. Although Su Shi “composed ci with the method of composing shi”, his works were still influenced by music. The genre of ciyun ci-poetry reflects and puts forward the standardization of the tunes and forms of ci, which eventually became a new literary form independent of shi poetry.