唐五代歌妓與《花間》婉約詞風之形成

Song Prostitute of the Tang and Five Dynasty And “Hua Jian Anthology” To Form Graceful lyric’s style

自唐五代以來，詞之風格始終以「婉約」為正宗。由於詞人與歌妓間之關係，呈現多重的交織：歌妓既是詞人的合作者，亦是詞人於作品中加以表現的對象，因此詞人於創作過程中更突顯歌妓。從合作的角度視之，詞人首先須選用最適合歌妓演唱的語言文字和音樂曲調，使之搭配和諧，達到聲色俱佳之效果，因此詞所賴以生存的繁榮文化背景與唐代歌妓制度密不可分。形成婉約風格的因素很多，依歌妓形態特質而延伸之女性化特徵，是婉約風格形成之關鍵，唐五代文人詞總結集──《花間集》之婉約風格形成，與「詞為歌妓而創作」，以及「詞人以歌妓的角度作詞」有關，因此本文就歌妓與詞之關係、詞之創作主體轉移為歌妓，以及《花間集》婉約詞風之形成三個部份，探索唐五代歌妓與《花間集》婉約詞風形成之關係。

Since the Tang and Five Dynasty, the graceful lyric's style is always the orthodox school. Due to the relationship of the lyric poet and song prostitute, it shows a multiple combination, song prostitute is not only the cooperator but also is the object that shows in the lyric poet's work, lyric poet is more emphasis in song prostitute, form the angle of cooperation lyric poet must use the most fit singing language and music melody to the song prostitute, to make a harmony, and to reach the best effect of voice and countenance, so the prosperity of the culture background that lyric depends on living is inseparable with the Tang Dynasty song prostitute system. They are many factors to build a graceful style, the key point to form a lyric's style is to follow the song prostitute's modality idiosyncrasy and extend the features of female. The literary lyric collection ”Hua Jian Anthology” to become a graceful lyric's style and lyric is to create for the song prostitute, is related to the lyric poet to make lyric poet with the angle of song prostitute, so this article is with three parts, the relation of lyric and song prostitute the main part of the creating lyric transfer to song prostitute and to form a graceful lyric's style. To discover the connection between song prostitute of the Tang and Five Dynasty and how to form the graceful lyric's style of ”Hua Jian Anthology”.