析論宋末元初詞壇對周密之接受

An Analysis of Chou Mi's Lyric Acceptance by the Lyric-field in the Late Song Dynasty and Early Yuan Dynasty

本文旨在析論宋末元初詞壇對宋遺民周密之接受，並從三方面予以探討：其一、就周密《草窗詞》之接受言之，可分為對整部《草窗詞》之接受及個別作品之接受。就前者言之，共有七家八闋詞涉及，此中吳文英、毛珝、張炎等人，皆著眼周密於宋亡前，所寫朋友雅集酬贈、詠物寫景、抒情記遊之作，而予以接受傳播。李萊老、王沂孫、王易簡等人，則兼及宋亡後周密懷舊憶往之作。所以有此區別，端緣周密《草窗詞》於宋末元初實有兩種版本也。此外，尚有王橚一篇跋文，係就協比律呂、意味不凡之角度，接受周密《草窗詞》；又有沈義父《樂府指迷》，指出周密詠物詞不免有「說出題字」之失，乃當時僅見之批判言論。就後者言之，元初《樂府補題》錄有周密〈天香．龍涎香〉、〈水龍吟．白蓮〉、〈齊天樂．蟬〉三闋詠物詞，然並未凸顯此中是否藉詠物抒發故國之思等論題。其次，陸行直《詞旨》，則是就對句、警句、詞眼三方面，分別舉周密詞句，表達其接受角度；楊纘則以「語麗」接受其〈木蘭花慢．西湖十景〉作品；王橚跋中對周密〈徵招〉、〈酹江月〉等緬懷楊纘之詞篇，特別感受，以其具「淒涼掩抑，頓挫激昂」之況味也。其二、就周密《絕妙好詞》之接受言之，此選錄南宋132家391闋詞。此中，周密自選22闋居冠，誠其他詞選所未見。張炎以「精粹」兩字，肯定其所選；又以〈西江月〉一詞，流露對此選之高度接受。此外，此選卷五至卷七，係選錄宋末元初詞人之作品，本文取之與周密自選22闋相比較，發現《草窗詞》中凡他人酬和（含依韻、次韻）之作，皆在選中；包含〈三姝媚．送聖與還越〉、〈法曲獻仙音．弔雪香亭梅〉、〈高陽臺．送陳君衡被召〉、〈高陽臺．寄越中諸友〉、〈探芳信．西泠春感〉，皆可見當時詞人對周密詞接受之情況。再者，周密22闋自選詞中，尚有「傚顰十解」之組詞，係以不同詞牌，仿擬《花間集》以及辛棄疾、盧祖皐、史達祖、張輯、孫惟信、趙汝茪、吳文英、李彭老與李萊老（合稱「二隱」）、施岳等人之詞風。而李彭老針對此十闋仿擬作品，曾填作〈踏莎行．題草窗十擬〉，道其接受周密「十解」之角度，實亦可證明李氏接受《絕妙好詞》之選。其三、對周密其他著作之接受言之，周密除詞學專著外，根據清‧陸心源《宋史翼》之著錄，尚有詩文及其他著作十五種。此中《武林舊事》係記載南宋乾道、淳熙間，三朝授受、兩宮奉親及一時聲名文物之盛，兼及紹興21年張炎七世祖張俊府第接待高宗駕幸，供應御筵之盛舉。張炎爰填一闋〈思佳客〉詞，表達其接受觀點，既流露過往種種如夢幻泡影之感受，亦可見宋遺民惻惻興亡之痛楚。由於係論及周密非詞學專著之接受，故彌足珍貴。

This Study aimed to analyze and discuss Chou Mi's (周密) lyrics acceptance by the Lyrics field in the late Song Dynasty and early Yuan Dynasty thorough three aspects: First of all, for the degree of acceptance in Chou Mi's “Lyrics Collection of Grass and Window” can be divided into acceptance of the entire collection or individual pieces. For the former part, there were a total of seven lyrics being involved with and whereas, individuals named Wu, Wen-Ying, Mao Xu and Chang Yeng et al. all focused on the works as to elegancy, gift, scenes, objects, emotions and trips and promulgated them at will. As for individuals including but not limited to Lee, Lai-Lao, Wang, Yi-Sun and Wang, Yi-Chien et al. focused the works recalling memories and the old time after the Sony Dynasty was eliminated in concurrence. Therefore, it had such difference behind two versions of Chou MI's “Lyrics Collection of Grass and Window” in the late Song Dynasty and early Yuan Dynasty. In addition, there was also a postscript composed by Wang, Xiu that he accepted Chou Mi's “Lyrics Collection of Grass and Window” by terms of comparison in parallel words and rhythm for the expressions of extraordinary perspectives; besides, there was also Sen, Yi-Fu's “Sony-type Poetry for Guidance of Lost”, where it mentioned that Chou Mi's Lyrics Chanting for the objects might not escape from the loss of “Saying Words in the Topics” which was the only one critics and speeches. For the latter one, Chou Mi's three lyrics chanting for the objects, “Heavenly Fragrance - Ambergris”, “Chanting of a Snake - White Lily” and “Collective Joy - Cicadae” were recorded in “Supplementary Topics in the Chanting Poetry”; however, they did not highlight if the works had expressions of showing the miss to the homeland by virtue of changing the objects. Secondly, Lu, Hsing-Tzi's “Subject of Lyrics” listed Chou Mi's sentences in the Lyrics against three dimensions, couplets, warnings and terms and expressed his views of the acceptance; Yang, Tsang accepted Chou Mi's work named “Magnolia in Slowness - Ten Scenes of Xihu” by terms of the “elegant tone”; In Wang Xiu's lyrics, he expressed and cherished his special feelings and memories about Yang Tsang's works named “Enrolling in the Army” and “Drinking under the Moon by the Lake” for his “desolated, frustrated and impassioned” status. Second, for the acceptance of Chou Mi's “Miraculous Lyrics”, there were a total of 391 lyrics selected and recorded from 132 sites in the Southern Song Dynasty, where Chou Mi selected 22 ones of them as the top ones, which was seldom to see in other collection of lyrics. Chang Yen confirmed what he selected with two words, “Precision & Abstract”; he further used the lyric named “The Moon on Top of Xi River” to disclose his high affirmation and acceptance of the lyrics. Besides, the lyrics in Vol. 5 to 7 of Collection were selected from the works of poets living in the late Song Dynasty and early Yuan Dynasty early of Yuan Dynasty. In the Study herein, they were selected as the subjects in the comparison with those twenty-two lyrics selected by Chou Mi himself and indicated from the results, as long as the lyrics were coming from “Lyrics Collection of Grass and Window” (including By Rhythm and Replying Rhythm), they were selected, which including “Three Charming Ladies．Contributing to the Emperor & Returning them Back”, “Formal Melody Contributed for Fairy Tone．Mourning for Smell of Snow with Plum Blossoms in the Pavilion”, “Kaoyang Terrain．Sending Chen, Chun-Hung for the Army”, “Kaoyang Terrain．Sending to Friends in Yuehchung” “Inquiring my lover's message. Coldness of Spring in Westside”, which how contemporary poets' acceptance of Chou Mi's Lyrics were all visible. Furthermore, among twenty-two lyrics selected by Chou Mi himself, there remained portfolio lyrics named “Ten Interpretations of the Imitation of Beauty”, where the lyrics displayed in “Blossom Collection” were imitated by a variety of lyrical norms and some individuals' style of writing lyrics including but not limited to Xin, Chi-Ji, Lu, Tzu-Hong, Shih, Da-Tzu, Chang Ji, Sun, Wei-Hsing, Chao, Ru-Kuang, Wu, Wen-Ying, Lee, Peng-Lao and Lee, Lai-Lao et al (referred as “Urh-Yin” collectively) as well as Shih Yueh. Such means in the expressions of their acceptance of Chou Mi's selections in “Miraculous Lyrics” was also proper and appropriate actions. Third, for the acceptance of Chou Mi's other works, in addition to his lyrics Studies and professional works, in accordance with the records in Lu, Xin-Yuan's “Songshiyi” in the Ching Dynasty, there remained fifteen kinds of poetic texts and other works, where “Legendary Matters of Martial World” specified the prosperity and popularity of the grants from three dynasties, culture of serving relatives of two palaces and heritages with contemporary reputation in the Dynasty named Chiendao and Chuenxi of the Southern Sony Dynasty, along with Chang Yen's spectacular actions by reception and welcoming the King Gojong's visit with the catering services in the Residence of his Seventh-generation Ancestor, Chang Chun in the 21st Xiaoxing Year. Chang Yeng, hereby composed a lyrics named “Missing a Great Guest” to express the view he accepted the event, which not only disclosing the feelings for historic illusory dreams in the past, but also seeing those adherents' pains and sorrows in the Dynasty they had been lived with just gone and vanished. Due to reason that the acceptance of Chou Mi's non-lyrics studies and professional works were referred within, hence, some sort of sense of preciousness and treasury risen up in my mind.