金词研究

【作者】 王定勇；

【导师】 董国炎；

【作者基本信息】 扬州大学 ， 中国古代文学， 2006， 博士

【摘要】 十二世纪初,古老的女真民族崛起于白山黑水之间,建立大金(1115-1234)政权。在此后的十年间,金朝灭辽亡宋,臣服西夏、高丽,成为统治北方的强大政权。金与南宋对峙,形成我国历史上第二次南北朝分裂割据的局面。金王朝雄踞北方一百二十年,幅员广袤,北起外兴安岭,南到淮河,西起河套,东到大海,面积相当于南宋的两倍。金朝马上得天下,马下治天下,文化得到长足发展。金代文化是多元文化相互融合的结果,随着民族融合的进程,女真人代表的渔猎文化、契丹王朝代表的游牧文化、中原汉族代表的农耕文化碰撞交融,形成了具有民族特色、地域特色的新型的北方文化。由于北方地理环境、人文传统以及北方人民(包括北方汉族居民和北方少数民族)质朴刚健的气质,金代文化具有质朴刚健的风格。这对金词产生了深刻的影响。金朝入主中原,在朝廷中起用了不少北宋文人。这些文人都以才学见长,有的还是著名作家。他们的到来,在文坛产生了很大的影响。这就是历史上称为“借才异代”的时代。这批来自北宋的作家,直接启发了词体文学的创作,他们自己的创作和其他词人的追随模仿,曾左右一时风气。当生长在金代的一批词人成熟以后,金词又形成了自家面目,绝非宋词的影子或者回声。金词和南宋词都是由北宋词这个母体发育而来,但在各自的文化传统和文学背景下走过了不同的时空轨迹。在整个金宋对峙其间,金代词与南宋词平行发展,在南、北两个同属中国的不同的朝代里吟咏出不同的风调。因此可以说,金国与南宋平分天下、各为正统,金词和南宋词也是平分秋色、各领风骚。总的说来,金词具有鲜明的时代特征。首先,在民族大融合的背景下,金词是民族文化交叉融合的产物。汉族词人是金代词坛的主要力量,同时,少数民族词人也在崛起。女真族的完颜亮、完颜雍、完颜璟、完颜璹,羌人的后裔折元礼、契丹族词人耶律履,都在词坛占有重要的一席之地;鲜卑族的后裔元好问,是金代最杰出的词人。多民族的词人共同构成了词坛的创作队伍,这种情况是前代和同时的南宋词坛所没有的。“只有野蛮人才能使一个在垂死的文明中挣扎的世界年轻起来”,少数民族词人质朴豪爽、率真自然的创作风格给词坛注入了新的活力。随着文化整合的深入,完颜氏词人的风格逐渐委靡,完颜亮豪迈粗犷的风格在汉族词人身上得到延续。这可以说是民族心理渗透的一个典型表现。其次,在南北文学传统交汇的背景下,金词凸现出北方文学的阳刚之气。北国气候干烈祁寒,北地山川苍莽恢阔,北方风俗质直开朗。金代的词人几乎全是北方人,具有浑厚豪迈的文化心理。受自然环境和人文环境的影响,金词形成了别具一格的北派风格。北方文学自古以来就形成了阳刚质朴的传统,金人写词,强调言志抒情,不拘文字工拙,与这种文学精神是一脉相承的。“诗词只是一理”(王若虚《滹南诗话》卷中)、“性情之外不知有文字”(元好问《新轩乐府引》)、“挟幽、并之气”(郝经《遗山先生墓铭》),这三点是金代词人创作的总纲领,也是金词贯穿始终的文学精神。金词的总体风格可以概括为伉爽清疏、刚方劲健。金词的发展演变到词风的最后形成,经历了三个时期。第一个时期(1115-1161),是“借才异代”期。金太祖至海陵王统治的几十年间,战争不断,国势日盛。在戎马倥偬之中,金词有了一个高亢的开篇。金词是文化移植的产物。女真文化落后,金朝建立之初无词可言。金与北宋的交战中,北宋文人吴激、蔡松年等人进入金朝,也把北宋成熟的词体艺术带到金朝,为金词提供了一个高水平的范本。这群北宋词人由于经历时事动荡,身陷异国他乡,内心激愤不平,需要心灵的安慰。而苏轼的旷达洒脱恰好可以疏导他们的郁闷,缓解他们的痛苦,于是他们选择了“苏轼模式”来抒发感情。从此,苏轼的风格在北方流传,并一直延续了下去。在北宋文人的引导下,金朝本土的词人开始成长起来。这一时期,金王朝处在上升期,形势一片大好——金太宗灭亡北宋,金熙宗臣服南宋,海陵王迁都燕京,为统一天下积极准备。意气风发的金代词人继承了北宋词人的爽朗词风,并充实进昂扬的时代内容,写出激昂壮阔的篇章。以完颜亮为代表的词人,风格豪迈奔放,标志着金词自身的特点已经初具雏型。第二个时期(1162-1208),是“多元发展”期。1164年,金与南宋签订隆兴和议,此后南北修好长达四十余年。在金世宗和金章宗两个开明君主的统治下,金朝经济发展,政治清明,文化繁盛,进入鼎盛期。尤其是世宗和章宗爱好文学,并亲自创作,更加刺激了词体文学的发达。和平安逸的社会环境和帝王的提倡,给词人们提供了良好的创作氛围。大定、明昌年间,词坛人才辈出,风格多样,呈现出百花齐放的繁荣景象。蔡珪的俊爽清拔、刘迎的婉丽温柔、党怀英的潇洒疏秀、王庭筠的幽峭绵邈……反映了词人多方面的探索和尝试,也为金词积累了丰富的创作经验。明昌时期的词人大都具有很高的艺术修养,在书法、绘画方面都颇有造诣。高度的艺术修养使得他们在文学创作中注重审美价值,并形成一些共同的审美趣味。例如,梅花的意象和词人高洁的志趣凝结在一起,便构成了美妙的审美风格。金章宗统治的后十年,耽于声色,朝野上下侈靡享乐之风盛行。在章宗的影响下,词人追求浮华艳丽,导致华而少实,空洞无物。王寂、刘仲尹创作了大量的艳情词,风格浮靡香艳。这一时期,虽然涌现了多种风格,但是词的基调并没有改变。词人在大胆创作的同时,并没有放弃以词言志,依旧保持着清雄爽直的风格。此时的词坛名家辈出,风格多样,标志着金词已经进入成熟的发展状态。第三个时期(1209-1234),是“辉煌结获”期。1211年,成吉思汗发动对金战争。面对蒙古的铁蹄,曾经不可一世的女真人显得孱弱无能,在战场上节节败退。自卫绍王登基,金朝便陷入内忧外患的困境;自金宣宗“贞祐南渡”,金朝的衰败已经不可收拾。1234年,金朝最后一个皇帝金哀宗自缢死,宣告金王朝灭亡。这一时期,尤其是南渡后的二十年,战争连年、灾害频繁,生灵涂炭,民生凋敝。在时代苦难的冲击下,词人们从纸醉金迷中惊醒过来,开始反映金末社会动乱的现实。面对生死存亡的巨大考验,词人或写救亡图存的壮志,或写忧国忧民的情怀,风格慷慨悲壮。金词并没有随着金王朝的衰败而显出颓势,反而在乱世之中唱出时代的强音。金亡以后,元好问、李俊民、段克己、段成己等人成为流落新朝的遗民。他们感伤时事,系念故国,多写隐逸情怀与兴亡之感,词风高旷清远,幽忧激烈,为金词写下了流光溢彩的尾声。尤其是元好问饱含经世之志、亡国之痛与悯物之情,熔豪放婉约于一炉,化刚健婀娜于一体,刚柔并济,华实相扶,更加完全地展示了金词的特色,成为金词的集大成者。他不仅为金词划上了一个圆满的句号,对于宋词的推陈出新做出了巨大贡献。同时,他又变故作新,变词为曲,开创散曲创作之先河。这一阶段的词史实际上可以分为两个时期,一是南渡以后的词坛洗褪了明昌期间词风绮靡的不良风气,进入到一种更新的境界;二是跨越金、元两代的词人,升华了金词的品味,尤其是元好问,风格悲壮,艺术浑融,把金词推向了一个前所未有的高峰。纵览金词的发展过程,金词走过了一条“清刚——柔婉——刚柔相济”的演进轨迹。终金之世,伉爽清疏的词风延绵不绝,一直是金词的主旋律。而且,这个主旋律不是一成不变,而是不断丰富、发展的。更多还原

【Abstract】 In early 12th century, the ancient Jurchen Minority sprung in an area adjacent to the present Changbai Mountains and Heilongjiang River. They established Jin Dynasty (1115-1234). Ten years since the establishment, Jin conquered Liao and Song dynasties in succession, and had Xixia and Goryeo submitted, consequently turning into a powerful regime ruling the north of China. With the confrontation between Jin Dynasty and the Southern Song Dynasty, which ruled the south and the north separately, China was enmeshed in splitting for the second time. In its 120-year occupation in the north, Jin Dynasty commanded a territory twice than that of Southern Song Dynasty, the territory starting from exterior Xingan Ling Mountains in the north to the Huaihe River in the south, and from the Hetao region (the inverted-U bend of the Yellow River in Inner Mongolia) in the west to the sea in the east. Jin came into power by means of military force, while it governed the country differently. The culture in Jin Dynasty was the fruit produced by the permeating of multiple cultures. During the course, the fishing and hunting culture represented by the Jurchen, the nomadizing culture by the Khitan, and the farming culture by the Han collided and blended, resulting in a new northern one featured certain nationality and geography. The culture progressed rapidly in Jin Dynasty and registered a style of unaffectedness and sturdiness due to the similar quality of the nature, humans (both Han Chinese and minorities) and traditions in the north. The cultural style marked the art of Ci in Jin Dynasty profoundly and lastingly.After possessing the central plains, rulers of Jin reinstated many intellectual adherents of Northern Song, who were excellent in literature when some were even noted writers. Thus their great influence in the literary world brought the so-called age of borrowing talents to alter to a new dynasty. These writers from Northern Song directly inspired the creation of Jin Ci when their own works and others’imitation used to act as the dominator. With the maturity of poets growing up in Jin Dynasty, Jin Ci came to display its own nature instead of simply being the shadow or echo of Song Ci. Both Jin Ci and the Ci in the Southern Song originated from the art in the Northern Song, the same seed, while left different spatio-temporal tracks in respective cultural tradition and literary background. Throughout the confrontation between Jin and Song, Ci of both dynasties developed in parallel, chanting different tones across two opposing territories yet belonging to the same China. Therefore, it was natural to draw the conclusion that when Jin and Southern Song divided the country equally, they were also comparative rivals having the same shares in the art of Ci.In general, Jin Ci showed vivid characteristics of the era. In the first place, it emerged as the result of national collision and permeation. Poets of the Han nationality acted as the main power, while at the same time those of minorities were also growing up. Wanyan Liang, Wanyan Yong, Wanyan Jing and Wanyan Shu were all Jurchen poets playing important roles; Yuan Haowen, the descendent of Xianbei nationality, was the most excellent poet in Jin Dynasty. Poets of different nationalities made up the creating group together, which never happened before and elsewhere. Only savages possessed the power to rejuvenize the world struggling in dying civilization. The forthright and natural way of minority poets breathed fresh air into the art. However, in company with further conformity of different cultures, the ever bold and unconstrained style of poets with the same family name of Wanyan faded, which however continued in works of Han poets. This could be considered as typical reveal of psychological penetration of different nationalities. Secondly, in the background of cultural permeation converging the south and the north, Jin Ci demonstrated the sunny and energetic features of the northern culture. There, the climate was dry and cold, the mountains were boundless and grand, and the custom was unpretentious and simple. Poets in Jin Dynasty were almost all from the north with heroic cultural psychology. Influenced by the nature as well as the culture, Jin Ci became the unique one with a typical northern style. The energetic and forthright tradition of northern culture imposed on poets in Jin the spirit of expressing ideals in lyrics while at the same time never sticking to the form of them.According to poets in Jin Dynasty, it was necessary to follow three principles in the creation of Ci: 1) Poems and Ci were similar in theory; 2) Poets had to keep to Su Shi’s style which spread wide in the north; and 3) Poets had to present the bold and unrestrained bearing of the north. All of the above were also the cultural spirit throughout the evolvement of Jin Ci. According to Wang Ruoxu, a noted litterateur in Jin Dynasty, poems and Ci shared the same principles and allowed no separate views. People in Jin Dynasty inherited the way of Su Shi, considering poems and Ci the same thing, and carrying forward the intellectual tradition of placing ideals on them. The general style of Jin Ci was fresh and forthright, while bold and vigorous at the same time. Jin Ci evolved in three phases.The first phase (1115-1161) featured a period of creation with the aid of intellectuals from the former dynasty. Under the ruling of Emperor Jin Taizu and Prince Hailing, although wars lasted for decades, the country was getting stronger. It was during this period that Jin Ci appeared with a resounding start. However, there was no Ci at all at the very beginning due to the backward Jurchen culture since it was a product of cultural transplantation. In the warfare between Jin and the Northern Song Dynasty, intellectuals from the latter moved into Jin’s territory and brought the mature art, which offered a high-level model. The group of intellectuals was trapped in an alien land owing to the turbulent war. They were upset and sought for comfort in their hearts. To the moment the forthright and graceful poetry of Su Shi appeared to be the best to relieve their depression and pain. Therefore they followed the style of Su Shi to express their feelings, which eventually spread and lasted in the north. Instructed by intellectuals from the Northern Song Dynasty, the Jin poets were growing up. At that time Jin was upgrading continuously and enjoyed an excellent situation. Achievements included the death of the Northern Song by Jin Taizong, the submission of the Southern Song to Jin Xizong, and the alteration of capital to Yanjing by Prince Hailing, all of which contributed to a unified country. Inheriting the bright and clear style of Ci in Northern Song, Jin poets enriched their works with active ideas, consequently resulting in furious and magnificent writings. With the bold Wanyan Liang as the representative, Jin Ci had demonstrated itself in an embryonic form.The second phase (1162-1208) featured a period of multiple development. In 1164, a Long Xing Agreement between Jin and the Southern Song maintained peace over 40 years. Under the domination of two enlightened emperors, Jin Shizong and Jin Zhangzong, Jin Dynasty witnessed prosperity with thriving economy, just politics and blooming culture. The two emperors were particularly interested in literature and even made their own works, which further stimulated the art of Ci. The peaceful social environment and the encouragement from the rulers offered poets favorable atmosphere for their creation. When Jin Shizong and Ming Changzong were on the throne, generations of talented poets mushroomed, presenting diversified styles and thus the prosperity of all flowers in bloom. Representatives in this time included Cai Gui, Liu Ying, Dang Huaiying, Wang Tingjun, and so on. Their styles varied from person to person, either bright, soft, harsh or secluded. Poets made effective exploration and great efforts, accumulating abundant experience for the creation of Jin Ci. Most poets during the years of Ming Changzong were really accomplished in art of calligraphy and painting, because of which they emphasized on aesthetics and reached common interests in literature creation. A good example was the wonder when integrating lonely plum blossom with the noble ideals of poets. In his last ten years on the throne, Jin Zhangzong indulged in eroticism and enjoyment, and the whole imperial court turned to extravagancy as well. As a result, poets altered to flashy and voluptuous lyrics, lacking active and meaningful ideas, represented by Wang Ji and Liu Zhongyi who left a great number of lyrics like this. However, it was still glad to find the keynote remained. Although bold in creation, poets stuck to the expression of their ambitions in clear, grand and forthright style. In this period, splendid poets and diversified styles marked the mature development of Jin Ci.The third phase (1209-1234) featured a brilliant ending. In 1211, Genghis Khan launched the war against Jin Dynasty. Confronting the Mongolian forces, the ever extremely arrogant Jurchen people appeared to be fragile and incapable. They successively retreated in defeat. Since the Prince of Weishao ascended the throne, Jin had been trapped in the difficult position struggling in domestic trouble as well as foreign invasion. Moving the regime southward by Jin Xuanzong foretold the unpreventable ruin of Jin. In 1234, Jin Aizong, the last emperor of Jin, committed suicide, which proclaimed the death of Jin. During this time, especially two decades after the moving southward, wars and natural disasters were going on successively, plunging people into an abyss of extremely hard livelihood. Struck by the pain and misery of that time, poets roused from extravagant life and turned to describe the social reality in the last years of Jin Dynasty. When having to make choice between life and death, they spoke out either their great aspiration of saving the country, or deep-felt worries about the people in solemn and stirring style. Instead of displaying a declining tendency, Jin Ci sang the fortis in the winds of war. After the perdition of the country, poets like Yuan Haowen, Li Junmin, Duan Keji and Duan Chengji were abandoned as its adherents in a new dynasty. When missing the homeland, they often show emotion of withdrawal to remoteness in rough rise and fall, putting Jin Ci to a dazzling end with secluded and firm style. Yuan Haowen was the most notable one among them, who distinguishing himself with a special way perfectly unifying boldness and restraint, energy and grace, combining almost all features of Jin Ci. He not only marked a wonderful end, but also made magnificent contributions to putting forth fresh ideas in Jin Ci. At the same time, he turned Ci into lyric songs, initiating the creation of songs in Yuan Dynasty. This period could actually be divided into two parts. Firstly, poets in the sphere after moving southward abandoned the voluptuous tendency during the years of Ming Changzong and thus put in fresh atmosphere. Secondly, poets spanning Jin and Yuan dynasties sublimed the taste of Jin Ci and pushed it to peak especially with the solemn and stirring works of Yuan Haowen who integrated and assimilated merits of all known poets.Jin Ci has in its evolvement left a track through hardness, softness, and a unity of both. Throughout the dynasty, the lasting theme of Jin Ci has always been fresh and forthright in successive enrichment and development instead of invariableness.更多还原