稼軒詠春詞的春情淺探──以抒情筆法和特質為中心

Analysis of the emotion of spring in Chia-Hsuan Tsz on praising spring: focusing on the writing technique and the lyrical qualities

稼軒詠春詞具備和傳統春詞不同的精神風貌，寄寓了稼軒的生命情思，反映了稼軒詞的整體特色，然此種獨有之風貌如何達致、如何可能，似仍有待探討。本文分析稼軒詠春詞抒寫春情之筆法和所塑造之抒情特質，其中春的對象化書寫強調人與春的斷裂隔絕，突顯了時間之傷；層疊複重之技巧則透過對情景的層疊描寫，積累情感的重量，營造出鬱結沉重的抒情特質。如此筆法的運用，將沉鬱的悲慨化入婉約的春情書寫中，使春情連結並反映了稼軒的用情姿態與生命意蘊，寓剛於柔、振柔為剛，使婉約與崢嶸、雄峻與柔美相濟，最終呈現出稼軒詞獨有之「嫵媚」抒情風貌。

This essay focuses on the writing technique and the lyrical qualities of Hsin Ch’i-Chi（辛棄疾，1140-1207）’s Tsz on praising spring. Hsin Ch’i-Chi’s Tsz on praising spring has a greatly different spiritual style from that of traditional Tsz that praises spring. This reflects the overall characteristics of Chia-Hsuan Tsz. However, how he achieves this style has room for discussion. The project attempts to analyze how Hsin Ch’i-Chi wrote the emotion of spring and the lyrical qualities conveyed by this writing technique in his Tsz on praising spring. Objectification writing of the spring Tsz emphasizes the division between humans and spring, thereby highlighting the pain caused by time. Otherwise, his superimposed writing of emotion and landscapes creates melancholic lyrical qualities. Chia-Hsuan Tsz on praising spring incorporates this melancholy into graceful emotions of spring. This allows the emotions of spring to connect and reflect Hsin Ch’i-Chi’s emotional attitude and intension on life. Moreover, this enables rigidity and softness to be integrated, thereby exhibiting the lyrical styles of Chia-Hsuan Tsz.