摘要
词调《临江仙》来源于唐教坊曲,其本意多表达“登临思归”主题,五代以后多歌咏水中仙女之事,题材以表现闺阁相思艳情为主,不过已初步显露出开拓的趋势。《临江仙》调后经过宋人的创作,其题材得以进一步拓展,风格也不限于婉约一端。在词体形式上,敦煌曲子词尚较为粗糙,从五代开始逐渐成熟定型,宋人在继承五代通行正体的基础上,又对词体进行积极的新创。
Originating from Chiao Fang in the Tang dynasty, the tune Lin Jiang Xian intended to express more of the theme " homesickness". Since the Five Dynasties, the tune focused on "chanting water-side ladies" and dedicated to express the meaning of lovesickness in the boudoir of men and women. However, the trend of expansion has been initially revealed. Created by poets in the Song dynasty, the context of the tune Lin Jiang Xian is further expanded. It is not merely confined to graceful and restrained style. In terms of the form, ci poems in Dunhuang ci collection were still relatively rough. Its form began to mature and its stereotype was finalized after the Five Dynasties. On the basis of inheriting the popular form, the poets in the Song Dynasty made positive new creations of the poem style.
作者
黄敏
HUANG Min(Zhongbei College,Nanjin Normal University,Danyang,Jiangsu 212331,China)
出处
《湖北职业技术学院学报》
2022年第3期54-60,92,共8页
Journal of Hubei Polytechnic Institute
关键词
《临江仙》
词调本事
词调体式
词调声情
流变
Lin Jiang Xian
the original intention of a ci title
the form of the tune
emotion of tune
flowage
作者简介
黄敏(1992-),女,江苏扬中人,硕士,南京师范大学中北学院讲师,主要研究词曲学。
