周邦彥詞之敘事現象

The Narrative in Zhou Bang-yan’s Ci

詞體是唐五代流行的曲子，囿於其篇幅限制，本不適合發展長篇的敘事，而歐陽炯於〈花間集序〉一文將詞體定位於豔科後，言情成為文人詞之常態現象，與敘事的關連性愈來愈薄弱。因此，一般而言，詞的文類特色在「抒情」而非「敘事」。但是北宋末年被譽為集大成者的周邦彥，其詞作卻有極明顯之敘事性，有悖於當時文人詞的創作習慣。因此本文將針對此點切入研究，主要探討的問題有下列三部分：其一，從形式來看，周詞的敘事多以長調呈現，它與敦煌曲子詞中的長調作品有密切的關係。其二，從內容來看，周詞主要採取詩化的敘事策略，阻斷敘事的流暢，造成讀解的停頓。其三，從詞史的角度來看，周詞敘事現象不但拓展了文人詞的向度，亦兼顧流行歌曲消費巿場的需求，有效的豐富了詞體的生命。

The genre of Ci (lyrics) was popular music in Tang Dynasty and Five Dynasties. With its limitation in length, Ci was not suitable for long narrative. Ou-yang Jiong in his article, ＂Preface to the Collection of Hua-Jian School＂, defined Ci as ＂romantically sensual＂, and from then on the theme of romantic love in Ci became normal, and its connection with narrative became weaker and weaker. However, Zhou Bangyan, who was praised as the most skillful and successful Ci poet in the last years of Northern Sung Dynasty, adopted narrative largely in his work, which was against the writing style of his contemporaries. Therefore, this article will focus on this topic and discuss three points as follows: first, from the aspect of form, the narrative in Zhou’s Ci was represented by long tune, which was closely related to Dun-huang Lyrics. Secondly, from the aspect of content, in Chou’s work, the poem-rized narrative strategy was used to interrupt the fluency of narrative and thus cause pauses when we interpret his work. Thirdly, from the aspect of the historical development of Ci, the narrative in Zhou’s Ci not only expended the horizon of literati lyrics, but also met the need of popular music market, and therefore effectively enriched the life of Ci.