摘要
明人高濂在词与散曲创作方面具有较为独特的个性特征,同时一定程度上也体现出明人于词曲观念认识之互混状态。具体而言,高濂词曲均好作联章体,以此凸显其对悠闲恬淡生活意趣的刻意追求。高濂词多“一牌一调”之作,且明显注意到词题与所咏对象的关联性。此外,高濂词曲还典型体现出词体曲化与曲体词化的倾向,正是彰显了其惯用相近思维填词制曲的创作风貌。高濂词与散曲在题材、择调、语词等方面分别呈现出的独特性,正为我们考察明代词曲互动现象提供了典型的个案参考。
Gao Lian of the Ming dynasty has a unique personality in the creation of ci and sanqu,which to some extent also reflects the mixed state of people of the Ming dynasty in understanding the concept of ci and qu.To be specific,Gao Lian prefers the joint chapters style in creation of ci and qu to highlight his deliberate pursuit of leisure and quiet life.Gao Lian s ci works are often composed with“one name of the tune and one tonal pattern”,and he obviously notices the relevance between the title of the ci and the object he chants.In addition,his ci and qu works typical style reflects the interactive influence of ci and qu,which shows Gao Lian s creative style of composing ci and qu works with similar thinking.The uniqueness of Gao lian s ci and sanqu works in the aspects of subject matter,tone selection and words provides a typical case reference for us to study the interaction phenomenon between ci and qu in the Ming dynasty.
作者
郑海涛
ZHENG Hai-tao(School of Chinese Language and Literature,China West Normal University,Nanchong 637009,China)
出处
《西华师范大学学报（哲学社会科学版）》
2021年第4期91-97,共7页
Journal of China West Normal University:Philosophy & Social Sciences
基金
四川省哲社后期项目(SC19H006)。
关键词
高濂
词曲
比较
Gao Lian
ci and qu
comparison
