《河传》词调研究中国古代文学专业毕业论文.docx

摘 要
摘 要
隋炀帝游汴河时,始创《河传》一调,今隋炀帝本词亡佚,唐五代、宋、元、明、清初词人对此调创作不断,唐代至清初约有 157 位词人的 313 首作品***。本文主要通过对《河传》文本的解析,论述其形式、内容、风格等三方面的内容。
从形式上看,《河传》体式较多,笔者粗略总结出十一种体式,《河传》虽属小令, 其体式中平仄转换韵、仄韵格等用韵方式在词作中也有所体现。
《河传》题材丰富,其本事当属“闺怨”一类,这类题材在唐五代词人手中运用得得心应手,游子思妇的离别相思写得极尽缠绵,以《河传》咏隋炀帝之事也始见于五代人之手,亦不乏写景纪游之作。宋人继续开拓,又增加了宴饮酬唱、羁旅行役、咏物等类别,其咏物之作写得生动传神,词人言外之意尽在其中。元代《河传》创作衰微,仅有的两位词人还是遗民词人,清初的跨代词人有 15 位。遗民词人只是明与清初《河传》创作史上的一个特殊群体,是历史的遗留问题,其创作与其他词人并无区别。在统计中, 明、清初的词人与作品均占总量的 86﹪左右,达到了《河传》创作史上的鼎盛时期。吟咏生活闲情琐事、风俗节令,题画遣兴各种题材一一加入到创作行列中来,其分类更加细致,专题专咏,不再与其他题材交杂,个别词人,如尤侗、厉鹗的联章组词,多首作品专咏一类的创作形制十分突出。明代、清初的《河传》创作无论是数量还是审美上都达到了一个新的层次。
从风格上来讲,闺怨词婉约哀怨,多借咏物、写景来寄托情思,咏物、写景之作清新自然,颇得神旨,另外《河传》吟咏情怀之作,写得闲雅淡泊,融词情画意于一体, 境界超然,别有一番情趣。
千年词调,蔚为大观,其盛衰从《河传》一调的创调、发展、衰微、繁盛史上也可窥见一斑,随着词学、词史研究的进一步开拓和发展,对词调整体面貌的理解必将更加完备。
关键词 词调 《河传》 体式 题材 风格
Abstract
Abstract
He Zhuan was created by emperor Sui Yang, when he visited the Bian-canal, however, the writing of emperor Sui Yang had lost. From Tang dynasty to the earlier Qing dynasty there were 157 writers and 313 works. In this paper, the study of the text, divided into three aspects: form, content and style.
Form plex types, there are 11 kinds of styles. Although the scale of He Zhuan is small , the rhyme plicated, for example, the simple transition rule of sweet and stiff, these are the focus of this paper.
Subject is rich ,the basic topic is " boudoir repining", parting description between lovers was rather lingering, such subject matter was used by Tang and the Five dynasties flexibly, and to the river something of emperor Sui Yang and scenery description and travel note also beginning of the Five dynasties. Song dynasty continue to developing, such as, get-together and responding, long term trip and thing-intoning . The Yuan dynasty creation fails, only two poets, In statistics, the works and poets of the Ming and early Qing dynasty were accounted
for about 86﹪ of the total, near the peak of the history of creation. Life leisure , customs and
festivals, topic painting and entertaining