明清譜體詞選序跋析論

Analysis and Critique of Prefaces and Postscripts in newly created Ci Collection of Ming and Ching dynasty

許淑惠(Hsu,Shu-Hui)

《高雄師大國文學報》 25期 (2017/01) Pp. 109-158

摘要

詞體初始，配合歌唱，每調各有形式，詞句、用韻與音樂節拍協和，音律輕重緩急呈現作者情意。宋代不乏關注詞體音韻、聲調之論，如王灼、張炎、沈義父，諸家各有見地。唐宋詞體尚可歌詠，至明詞樂失傳，宮調散逸，不復可歌，於創作時深陷困惑，且遭遇同名異調、異名同調、名同字句可增損等複雜現象，更加無所適從，遂激發明人纂譜之思。明人嘗試創製，清詞壇更為熱衷，擇選佳篇名作，依聲定譜，並擇取唐宋詞篇為範式。故本文先行蒐羅明清譜體詞選序跋，並逐一探究特質、擇取態度及詞學觀點，藉此略窺明清譜體詞選於詞壇遞嬗之情況。

關鍵字

明清 ； 譜體詞選（詞譜） ； 序跋

並列摘要

When the Ci composing started, every tonal pattern had its own format. Wording and rhymes match with beats to be sang. Affection of Ci-poets was shown by the soft, heavy, slow and fast rhythm. There were researchers who paid attention to rhymes and rhythms in the Song dynasty like Chuo-Wang, Yan-Chang and YiFu-Sheng. Their opinions were intelligent comments. Ci in the Tang and Song dynasties could still be sang, but its rhythm was lost in the Ming dynasty. Ci-poets in the Ming dynasty were always confused when they tried to compose Ci, especially when they saw Ci that were of the same name but with different rhythms, different name but with the same rhythms, or name of Ci being changed. Therefore they started to think of composing new Ci rhythms. Ci-poets in the Ching dynasty were even more passionate in composing new Ci rhythms, they selected famous pieces of Ci, then set tonal patterns based on music, and chose Ci in the Tang and Song dynasty as paradigm. I collected prefaces and postscripts of newly created Ci collection of the Ming and Ching dynasties. After that I studied its characteristic, chose specific viewpoint of Ci to understand the change in the newly created Ci of the Ming and Ching dynasties.

並列關鍵字

Ming and Ching dynasties ； newly created Ci collection in the Ming and Ching dynasties ； preface and postscript

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