流行美學與唐宋民間俚詞

Popular Aesthetics and the Tang and Song Minfian Lyric

民間詞及流行文學創作的目的在於迎合大眾的口味，為他們提供感官上的即時享受。因為創作對象及功用的不同，故此形成了一種獨特的美學體系。但傳統文人卻往往只從文人的美學角度出發，在批評民間作品俚俗、淺近的同時，忽略了普羅大眾對作品的接受能力、要求和欣賞態度。本文即嘗試從流行美學及普羅.大眾的角度來評論唐宋的民間詞。
本文首先運用西方文化批評的理論，探討了作者與受眾如何溝通的問題，並且分析了教育、社會和經濟等原素，如何影響普羅大眾的審美觀；其次則闡析了古典詩論中對「深遠」和「淺近」等美學觀的評論如何被傳統詞學家移植到詞學批評上。文章第二節透過比較敦煌曲子〈傾盃樂〉和溫庭筠的〈菩薩蠻〉，以實例對民間詞及文人詞作出美學上的區別，並探討詞評家詮釋作品的手法。第三節則著重評論民間詞在藝術風格、形式和內容幾方面的特色。

The production of minjian lyrics as well as popular literature is to favor the demand of common audience and to provide for them immediate sensual pleasure. Since this type of literature served audience from a different social stratum and therefore, had different artistic and practical functions, they formulated an aesthetics which is in strong contrast with the elite one. Critics, however, usually censure the vulgarity and shallowness of popular literature with reference to traditional aesthetics, and also ignore the common audience's reading capability, demand and attitude toward literature. The objective of this article is to study the Tang and Song minjian lyric from the viewpoints of the general audience and popular aesthetics.
The article first concerns about how the artist can successfully communicate with the recipient, how educative, social and economic factors contribute to the aesthetic preferences of the elite and the non-elite. It also explicates how the oppositional literary qualities, such as “profound and far-reaching, '' shallow and familiar, '' in traditional shi criticism were transplanted to ci criticism. The second section of the article attempts to draw an aesthetic distinction between popular and elite lyrics through a comparison between the Dunhuang song “Qing bei le” and Wen Tingyun's ''Pu sa man.” The study of Wien's piece also exemplifies how traditional critics interpret literary works allegorically. The third section is an analysis on the content and the various stylistic and formal features represented in the minjian lyric.