论温庭筠词
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摘要
温庭筠是晚唐著名诗人，更以其词名家。整个晚唐时期，除温词外，词作中很少有名作。因此温词在晚唐，特别是在晚唐前期的出现，可谓孤峰突起，成为晚唐文学中难得的收获。
学术界目前对温词的评价尚有较大争议，存在褒贬不一的情形。褒扬者赞之过甚，贬之者则不遗余力，而且主要是针对其词的寄托问题及其艺术上的浓艳、跳跃性大等方面而争论；讨论面较狭窄，甚至存在因人废言、褒贬失当的问题。
本文不求全面论述温词的成就，而是尽量想把温词放在其产生之初的背景下，来论述在这样的情况下温词异峰突起的开创之功与巨大意义。
本文主要分以下几部分论述：
一、诗的词化——由诗而词的过程。晚唐时代，文人心态内敛，艳情题材增多，诗歌中产生了细美幽约之作，这种细美幽约的风格更适于在词中表达。在温庭筠之前，李贺、杜牧、李商隐的作品中已出现了词化特征。但李贺之作过于幽冷诡异，杜牧之诗过于疏朗俊拔，李商隐之诗情思渺渺，几近词境，可惜没有作词。温庭筠诗中，尤其是其乐府诗中，在题材、语言、词境上也出现了词化倾向，而且温庭筠又是晚唐大力作词之第一人，遂将诗中的词化倾向移植于词中，确定了花间鼻祖的地位。
二、温庭筠诗词比较——论诗词有别。温庭筠是晚唐第一位大力作词的作家，自此以后，诗词分流日益明显。温词的实绩，确立了“花间词”好写艳事、题材狭窄、色泽艳丽、语言华美的类型风格，并且由民间词的朴素形态过渡到仪态繁富的文人词。这一转变，与温氏观念中的诗词有别有一定关系。考察温庭筠诗词中的女性形象，比较可知，在其同类题材的作品中，所用的手法已经不同，已露出诗词有别的倾向。
三、温词中的阻隔感——对普范化抒情的继承与突破。词自晚唐五代、到北宋时代，大约有两种抒情范式，即花间范式和东坡范式。花间范式主要抒写人类共有的情感，东坡范式抒发独特的自我感受和人生体验。温词承袭了普范化抒情方式，又在此基础上予以突破，体现在温词中“阻隔感”的出现：1、有关“帘”字及夜景。经过统计，具有阻隔功能的“帘”字出现十二次，“纱窗”、“烟”、“栏”各出现两次、三次、两次。这些字的出现，表明温词中存在此岸与彼岸的阻隔。2、有关“梦"字。除“帘”字外，温词中还大量出现“梦”字，
梦正是现实中受阻的体现。事实上梦境迟早要破灭，因此阻隔不可能变成相通。
通过以上分析，并结合温氏的身世遭遇可以得出，温词虽为代言体，但从温词
开始，词已不仅仅是表达庸俗情感，而是在艳科中揉进了独特的生命体验。
四、背离与超越—论温庭药词的意义。与传统言志载道的诗歌比，温词
无疑是对政教文化的背离。首先审美意识向日常生活回归，.更多关注个人的生
活享受权利;其次，文化意识产生变革，对社会人生不再是精英式的俯瞰、审
视，而是将自己置身于世俗社会中;无意于再做精神上的遨游，而钟情于眼下
的悲欢离合。对物质生活的肯定，对人性的张扬，在传统社会是一种背叛，从
另一个意义上讲也是对传统文化禁锢人性的一种修补。然而与主流文化的碰撞
也使温庭箔在政治上付出了惨重的代价。
Wen TingYun is a famous poet of late Tang, and he is outstanding in his ci poetry. No good ci poetry except Wen's appears in the whole late Tang, therefore, the appearance of Wen's ci poetry in late Tang, especially in the earlier period of late Tang, likes a mountain protruding in a sudden and becomes rare literary harvest at that time.
How to appreciate Wen's ci poetry properly is under heavy disputation there is no agreement on it now. On the one hand, some people praise Wen's ci exaggeratly, on the other hand, some people depreciate it to the utmost. The disputation is mainly about where is sustenance in Wen's ci poetry and how to appreciate its rich and gaudy characteristic and its jumping describing style.
What they dispute is limited and narrow on scale and to some extent, some people pass improper judgement on Wen's ci poetry because of his unfavorable background.
This thesis wills not discus achievement of Wen's ci in an all-round way. It will research on the big initial importance of Wen's ci by placing it under the beginning background of ci poetry.
The subject is discussed in several following parts:
Firstly, the ci indication of Wen's poetry--a course from poetry to ci poetry.
What makes gaudy subjects increase in poems of late tang is that poets' psychogy holds back at that time. Gentle and exquisite feelings have appeared in poems , though it is better to be expressed by ci poetry.Before Wen TingYun, ci's characteristic has appeared in the works of Li He, Du Mu , Li ShangYin, but Li He's poems are too cold and remote while Do Mu's are too bright and vigorous. Although Li ShangYin's poems are affecting and have the same characteristic of ci poetry, it's pity that he doesn't write ci poetry.In Wen's poetry, especially in his Yue Fu poetry. Ci inclination has appeared in subject matters, words and mood. Wen TingYun is the first person who makes efforts to write ci poetry, which has built his founder status of "Hua Jian" literary school.
Secondly, a comparison of Wen's poetry to his ci poetry--they are different
from each other. After that, the gap between poetry and ci poetry becomes wider and
wider. The creation of Wen's ci has establish the "Hua Jian" literary style of writing erotic things, using gaudy words, and so on. Furthermore, his creation has carrried out the transition from ci's simple form of the folk to ci's complex form of scholars'. This kind of transition is connected with Wen's idea that poetry is different form ci poetry. Comparing female images created in Wen's poetry and ci poetry, we can find that Wen used different tactics among similar subject works.
Thirdly, sense of separating in Wen's ci inheritance and break-throngh. There are two kinds of lyrical normal forms, namely "Hua Jian" form and "Dong Po" form from late Tang to North Song. The former describe mainly people's emotion in common, and the latter expresses unique self impression and life experience. Wen's ci has inherited the former and broken it through on this basis, which can be seen in the appearance of "seperating sense" in Wen's ci. First, about the word of "curtain" and "night" image. "Curtain", a word shows seperation, appears 12 times and "screen window", "smoke", "fence" appears twice, tree times and twice. All these show separation sense. Second, about the word of "dream" .Besides "curtain", the "dream" appears hi a large number in Wen's ci. Dream is reflection of depression in society and it will evaporate sooner or later. So it is impossible to turn separation into communication. Combining above analysis and Wen's life experience, we can draw a conclusion that ci poetry can express n
ot only vulgar emotion but also unique life experiences, since the appearance of Wen's ci.
Fourthly, deviation and transcendenceabout the importance of Wen's ci poetry. Compared with traditional poems of expressing author's aspiration, Wen's ci has deviated from policy and culture undoubtedly. First, in Wen's ci poetry,aesthestic consciousness comes back to daily life and pays more attention to enjoying rights of perso
学术界目前对温词的评价尚有较大争议，存在褒贬不一的情形。褒扬者赞之过甚，贬之者则不遗余力，而且主要是针对其词的寄托问题及其艺术上的浓艳、跳跃性大等方面而争论；讨论面较狭窄，甚至存在因人废言、褒贬失当的问题。
本文不求全面论述温词的成就，而是尽量想把温词放在其产生之初的背景下，来论述在这样的情况下温词异峰突起的开创之功与巨大意义。
本文主要分以下几部分论述：
一、诗的词化——由诗而词的过程。晚唐时代，文人心态内敛，艳情题材增多，诗歌中产生了细美幽约之作，这种细美幽约的风格更适于在词中表达。在温庭筠之前，李贺、杜牧、李商隐的作品中已出现了词化特征。但李贺之作过于幽冷诡异，杜牧之诗过于疏朗俊拔，李商隐之诗情思渺渺，几近词境，可惜没有作词。温庭筠诗中，尤其是其乐府诗中，在题材、语言、词境上也出现了词化倾向，而且温庭筠又是晚唐大力作词之第一人，遂将诗中的词化倾向移植于词中，确定了花间鼻祖的地位。
二、温庭筠诗词比较——论诗词有别。温庭筠是晚唐第一位大力作词的作家，自此以后，诗词分流日益明显。温词的实绩，确立了“花间词”好写艳事、题材狭窄、色泽艳丽、语言华美的类型风格，并且由民间词的朴素形态过渡到仪态繁富的文人词。这一转变，与温氏观念中的诗词有别有一定关系。考察温庭筠诗词中的女性形象，比较可知，在其同类题材的作品中，所用的手法已经不同，已露出诗词有别的倾向。
三、温词中的阻隔感——对普范化抒情的继承与突破。词自晚唐五代、到北宋时代，大约有两种抒情范式，即花间范式和东坡范式。花间范式主要抒写人类共有的情感，东坡范式抒发独特的自我感受和人生体验。温词承袭了普范化抒情方式，又在此基础上予以突破，体现在温词中“阻隔感”的出现：1、有关“帘”字及夜景。经过统计，具有阻隔功能的“帘”字出现十二次，“纱窗”、“烟”、“栏”各出现两次、三次、两次。这些字的出现，表明温词中存在此岸与彼岸的阻隔。2、有关“梦"字。除“帘”字外，温词中还大量出现“梦”字，
梦正是现实中受阻的体现。事实上梦境迟早要破灭，因此阻隔不可能变成相通。
通过以上分析，并结合温氏的身世遭遇可以得出，温词虽为代言体，但从温词
开始，词已不仅仅是表达庸俗情感，而是在艳科中揉进了独特的生命体验。
四、背离与超越—论温庭药词的意义。与传统言志载道的诗歌比，温词
无疑是对政教文化的背离。首先审美意识向日常生活回归，.更多关注个人的生
活享受权利;其次，文化意识产生变革，对社会人生不再是精英式的俯瞰、审
视，而是将自己置身于世俗社会中;无意于再做精神上的遨游，而钟情于眼下
的悲欢离合。对物质生活的肯定，对人性的张扬，在传统社会是一种背叛，从
另一个意义上讲也是对传统文化禁锢人性的一种修补。然而与主流文化的碰撞
也使温庭箔在政治上付出了惨重的代价。
Wen TingYun is a famous poet of late Tang, and he is outstanding in his ci poetry. No good ci poetry except Wen's appears in the whole late Tang, therefore, the appearance of Wen's ci poetry in late Tang, especially in the earlier period of late Tang, likes a mountain protruding in a sudden and becomes rare literary harvest at that time.
How to appreciate Wen's ci poetry properly is under heavy disputation there is no agreement on it now. On the one hand, some people praise Wen's ci exaggeratly, on the other hand, some people depreciate it to the utmost. The disputation is mainly about where is sustenance in Wen's ci poetry and how to appreciate its rich and gaudy characteristic and its jumping describing style.
What they dispute is limited and narrow on scale and to some extent, some people pass improper judgement on Wen's ci poetry because of his unfavorable background.
This thesis wills not discus achievement of Wen's ci in an all-round way. It will research on the big initial importance of Wen's ci by placing it under the beginning background of ci poetry.
The subject is discussed in several following parts:
Firstly, the ci indication of Wen's poetry--a course from poetry to ci poetry.
What makes gaudy subjects increase in poems of late tang is that poets' psychogy holds back at that time. Gentle and exquisite feelings have appeared in poems , though it is better to be expressed by ci poetry.Before Wen TingYun, ci's characteristic has appeared in the works of Li He, Du Mu , Li ShangYin, but Li He's poems are too cold and remote while Do Mu's are too bright and vigorous. Although Li ShangYin's poems are affecting and have the same characteristic of ci poetry, it's pity that he doesn't write ci poetry.In Wen's poetry, especially in his Yue Fu poetry. Ci inclination has appeared in subject matters, words and mood. Wen TingYun is the first person who makes efforts to write ci poetry, which has built his founder status of "Hua Jian" literary school.
Secondly, a comparison of Wen's poetry to his ci poetry--they are different
from each other. After that, the gap between poetry and ci poetry becomes wider and
wider. The creation of Wen's ci has establish the "Hua Jian" literary style of writing erotic things, using gaudy words, and so on. Furthermore, his creation has carrried out the transition from ci's simple form of the folk to ci's complex form of scholars'. This kind of transition is connected with Wen's idea that poetry is different form ci poetry. Comparing female images created in Wen's poetry and ci poetry, we can find that Wen used different tactics among similar subject works.
Thirdly, sense of separating in Wen's ci inheritance and break-throngh. There are two kinds of lyrical normal forms, namely "Hua Jian" form and "Dong Po" form from late Tang to North Song. The former describe mainly people's emotion in common, and the latter expresses unique self impression and life experience. Wen's ci has inherited the former and broken it through on this basis, which can be seen in the appearance of "seperating sense" in Wen's ci. First, about the word of "curtain" and "night" image. "Curtain", a word shows seperation, appears 12 times and "screen window", "smoke", "fence" appears twice, tree times and twice. All these show separation sense. Second, about the word of "dream" .Besides "curtain", the "dream" appears hi a large number in Wen's ci. Dream is reflection of depression in society and it will evaporate sooner or later. So it is impossible to turn separation into communication. Combining above analysis and Wen's life experience, we can draw a conclusion that ci poetry can express n
ot only vulgar emotion but also unique life experiences, since the appearance of Wen's ci.
Fourthly, deviation and transcendenceabout the importance of Wen's ci poetry. Compared with traditional poems of expressing author's aspiration, Wen's ci has deviated from policy and culture undoubtedly. First, in Wen's ci poetry,aesthestic consciousness comes back to daily life and pays more attention to enjoying rights of perso
引文
[1] 清曾益等笺注，《温飞卿诗集笺注》，上海古籍出版社，1998年3月．
[2] 杜牧著，冯集梧集注，《樊川诗集》，上海古籍出版社，1962年9月．
[3] 叶葱奇疏注，《李商隐诗集疏注》，人民文学出版社，1985年11月．
[4] 李一氓，《花间集校》，人民文学出版社，1958年7月．
[5] 史双元，《唐五代词纪事会评》，黄山书社，1995年12月．
[6] 沈祖棻，《宋词赏析》，北京出版社，2003年1月．
[7] 夏承焘，《唐宋词赏析》，北京出版社，2002年1月．
[8] 龙榆生，《唐宋名家词选》，上海古籍出版社，1980年2月．
[9] 龙榆生，《龙榆生词学论文集》，上海古籍出版社，1997年7月．
[10] 俞平伯，《唐宋词选释》，人民文学出版社，1979年10月．
[11] 杨海明，《唐宋词史》，天津古籍出版社，1998年12月．
[12] 陶尔夫，《南宋词史》，黑龙江人民出版社，1992年12月版
[13] 俞陛云，《诗境浅说》，北京出版社，2002年1月．
[14] 王兆鹏，《唐宋词史论》人民文学出版社，2000年1月．
[15] 詹安泰，《詹安泰词学论稿》广东人民文学出版社，1984年．
[16] 高锋，《花间词研究》，江苏古籍出版社，2001年9月．
[17] 刘锋焘，《宋金词论稿》，中国社会科学出版社，2002年．
[18] [日] 村上哲见，《唐五代北宋词研究》，陕西人民出版社，1987年．
[19] 包弼德，《斯文：唐宋思想的转型》，江苏人民出版社，2001年1月．
[20] 华师大中文系古典文学研究室，《词学研究论文集》，上海古籍出版社，1982年3月．
[21] 叶嘉莹，《迦陵论词丛稿》，河北教育出版社，1997年7月．
[22] 叶嘉莹，《唐宋词名家论稿》，河北教育出版社，1997年7月．
[23] 叶嘉莹，《唐宋词十七讲》，河北教育出版社，1997年7月．
[24] 袁行霈主编，《中国文学史》，高等教育出版社，1999年8月．
[25] 邵英起，《新时期文学思潮概论》，春风文艺出版社，1999年3月．
[26] 余恕诚，《论温词类不出乎绮怨与对绮怨心境的表现》，陕西师范大学学报，2001(9)．
[27] 杨海明，《略论晚唐五代词对正统文化的背离和修补》，文学遗产，2001(3)．
[28] 刘尊明，《试论温庭筠词的艺术成就与审美特色》，湖北大学学报，2001(5)．
[29] 山本敏雄，《温庭筠文学一侧面——时间流逝中的不稳定存在》，古典文学知识，1996(2)．
[30] 成松柳，《“诗词有别”与“诗词一体”》，长沙水电师范学院学报，1991(4)．
[31] 张晶，《温庭筠乐府诗中的女性形象》，辽宁师范大学学报，1985(4)．
[32] 刘尊明，《温庭筠笔下的女性形象及其审美意义》，湖北大学学报，1989(5)．
[33] 孙光宪，《北梦琐言》，上海古籍出版社，1981年11月．
[2] 杜牧著，冯集梧集注，《樊川诗集》，上海古籍出版社，1962年9月．
[3] 叶葱奇疏注，《李商隐诗集疏注》，人民文学出版社，1985年11月．
[4] 李一氓，《花间集校》，人民文学出版社，1958年7月．
[5] 史双元，《唐五代词纪事会评》，黄山书社，1995年12月．
[6] 沈祖棻，《宋词赏析》，北京出版社，2003年1月．
[7] 夏承焘，《唐宋词赏析》，北京出版社，2002年1月．
[8] 龙榆生，《唐宋名家词选》，上海古籍出版社，1980年2月．
[9] 龙榆生，《龙榆生词学论文集》，上海古籍出版社，1997年7月．
[10] 俞平伯，《唐宋词选释》，人民文学出版社，1979年10月．
[11] 杨海明，《唐宋词史》，天津古籍出版社，1998年12月．
[12] 陶尔夫，《南宋词史》，黑龙江人民出版社，1992年12月版
[13] 俞陛云，《诗境浅说》，北京出版社，2002年1月．
[14] 王兆鹏，《唐宋词史论》人民文学出版社，2000年1月．
[15] 詹安泰，《詹安泰词学论稿》广东人民文学出版社，1984年．
[16] 高锋，《花间词研究》，江苏古籍出版社，2001年9月．
[17] 刘锋焘，《宋金词论稿》，中国社会科学出版社，2002年．
[18] [日] 村上哲见，《唐五代北宋词研究》，陕西人民出版社，1987年．
[19] 包弼德，《斯文：唐宋思想的转型》，江苏人民出版社，2001年1月．
[20] 华师大中文系古典文学研究室，《词学研究论文集》，上海古籍出版社，1982年3月．
[21] 叶嘉莹，《迦陵论词丛稿》，河北教育出版社，1997年7月．
[22] 叶嘉莹，《唐宋词名家论稿》，河北教育出版社，1997年7月．
[23] 叶嘉莹，《唐宋词十七讲》，河北教育出版社，1997年7月．
[24] 袁行霈主编，《中国文学史》，高等教育出版社，1999年8月．
[25] 邵英起，《新时期文学思潮概论》，春风文艺出版社，1999年3月．
[26] 余恕诚，《论温词类不出乎绮怨与对绮怨心境的表现》，陕西师范大学学报，2001(9)．
[27] 杨海明，《略论晚唐五代词对正统文化的背离和修补》，文学遗产，2001(3)．
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