稼軒詞於晚清詞壇之接受現象及其影響

The Reception and Influence of Jiaxuan's Ci in the Late Qing Dynasty

在清詞的發展中具有兩次重要的接受典範轉移，一次是清初浙西派與陽羨派相抗，到康雍乾年間浙西派獨到的時候，此時期的詞人所選擇的是追求藝術形式的姜張詞，而至道光中期以後，隨著清朝國勢衰落，常州派漸漸取代浙西派，轉而以追求內容的「寄託」引領詞壇，其中稼軒詞的評價跌宕起伏，從陽羨之崇尚蘇辛，到浙西之遙尊姜張，以致常州的四大家詞選，可以發現關於稼軒詞的接受問題，是在晚清時期才大量出現其讀者。本文以德姚斯之接受美學為進路，試圖用文學史中讀者主體的角度建構出稼軒詞在晚清詞壇的接受現象，從讀者的期待視野到創作主體之影響，討論稼軒詞在晚清詞壇的流行問題，蓋因社會母體與詞學理論的發展構成其接受的需求性，而在反映社會內容的文學思潮下，稼軒詞的藝術特質亦影響晚詞人的理論發展與創作。

The development of Qing dynasty ci poetry witnessed two pivotal shifts in critical reception. The first occurred during the early Qing when the Zhexi School clashed with the Yangxian School. By the Kangxi, Yongzheng, and Qianlong reigns, the Zhexi School gained dominance, with poets of this era favoring the formalistic ci of Jiang Qing and Zhang Zhen. After the mid-Daoguang period, as the Qing dynasty's fortunes waned, the Changzhou School gradually supplanted the Zhexi School, shifting the literary landscape toward the pursuit of“conveyed meaning”in content. The critical reception of Jiaxuan's lyrics fluctuated dramatically: from Yangxian's reverence for Su Shi and Xin Qiji, to Zhexi's distant veneration of Jiang Yi and Zhang Qian, culminating in the anthologies of the Four Masters of Changzhou. This trajectory reveals that the issue of Jiaxuan's reception only gained significant traction among readers during the late Qing period. This paper adopts DeYaoSi's reception aesthetics approach, attempting to reconstruct the reception phenomenon of Jiaxuan's lyrics in the late Qing lyric poetry scene from the reader-centered perspective of literary history. It discusses the popularity of Jiaxuan's lyrics in the late Qing lyric poetry scene, from the reader's perspective of expectation to the influence of the creative subject. This popularity stemmed from the demand created by the development of the social matrix and lyric poetry theory. Under the literary trend reflecting social content, Jiaxuan's artistic qualities also influenced the theoretical development and creative practices of later lyric poets.