論清代女詞人的豔情詠物詞

劉過(1154-1206)的兩首〈沁園春〉豔情詠物詞，在明清之際以迄雍正、乾隆乃至嘉慶年間，引起了詞壇的很大關注，在這一種風潮中，不少女性也加入了進來。本文擬討論這一現象所體現出的文學、文化史意義。寫作豔情詠物詞的諸女詞人，身世經歷往往有其不同流俗之處。由於詠物詞本身所具有的雅的屬性，她們的作品可以納入詞壇尚雅的大背景中加以考察，同時，也和她們有意識地突破原來女性詞的創作傳統，而向男詞人建構的傳統靠攏的創作傾向有關。雖然這一類作品往往都有一定的模式化，但由於是書寫女性自己的身體，因而也就一定程度上帶有女性生活的痕跡。另外，從描寫上來看，這些女詞人的作品往往更加注重直觀性，而不是像一般男作家那樣，在徵典用事上逞奇鬥巧，這也構成了她們創作的一個重要特色。

關鍵字

清代；女詞人；艷情；詠物詞；生活化

並列摘要

Liu Guo 劉過 (1154-1206) composed two romantic yongwu ci 詠物詞 with the title Qinyuan chun 沁園春 that gained widespread attention among ci writers during the Ming-Qing transition, as well as during the reigns of Yongzheng 雍正, Qianlong 乾隆 and Jiaqing 嘉慶. At this time, many female writers participated in this literary trend, the significance of which is discussed in this article. The women skilled at writing ci on romance and fragrance usually had distinctive tastes. Since this kind of ci usually possessed the attribute of ya 雅 (elegance), their work can be classified under the category of shangya 尚雅 (upholding ya). Meanwhile, their writing demonstrated their tendency to draw close to the male writing tradition by breaking through the traditional restrictions of earlier female ci. Although their works inevitably reveal the limitations of a patterned and stereotyped writing style, women's compositions on their own bodies can be viewed as a kind of breakthrough in displaying their lives in the inner chambers. Besides, compared with the male focus on literary allusions, women's writings are more concerned with describing immediacy, which became an important feature of their work.