从《全金元词》和《全元散曲》重收篇目探究词曲递变
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摘要
宋词的词乐在元代逐渐散逸,元曲逐渐取代宋词,二者同属于音乐文学,亦同属于古典律诗体的长短句形式,因此在元代以来出现了词与曲在文体上混淆的现象,并且从《全金元词》和《全元散曲》中发现一些重收篇目,从这一现象中可以看出调牌在继承发展过程中发生了一些变化,格律的变化、通用语言发音的不同、民间歌曲与文人歌曲的融合等是产生这种变化的原因。从重收现象出发探究词曲递变问题,一方面能够进一步区分词与曲的不同,另一方面能够认识词曲递变问题。
The music of the Song Ci gradually dissipated in the Yuan dynasty, and the Yuan Qu gradually replaced the Song Ci. Both can be identified to the music literature and classified as the form of long and short lines of classical verses.Therefore, since the Yuan dynasty, there appeared the phenomenon of confusing format of Ci with Qu. Some recollected works are found from the Ci Collection of Jin and Yuan and Yuan Qu Collection, from which we can see the changes of Ci tunes in the process of inheritance and development. The changes in the rhythm, the differences in the pronunciation of the common language, the fusion of folk songs and literati songs are the reasons for this change. From the phenomenon of recollected works, it is possible to further explore the alternate changes from Ci to Qu, on the one hand to classify the differences between the Ci and Qu, and on the other hand, to understand the alternate changing process from Ci to Qu.
The music of the Song Ci gradually dissipated in the Yuan dynasty, and the Yuan Qu gradually replaced the Song Ci. Both can be identified to the music literature and classified as the form of long and short lines of classical verses.Therefore, since the Yuan dynasty, there appeared the phenomenon of confusing format of Ci with Qu. Some recollected works are found from the Ci Collection of Jin and Yuan and Yuan Qu Collection, from which we can see the changes of Ci tunes in the process of inheritance and development. The changes in the rhythm, the differences in the pronunciation of the common language, the fusion of folk songs and literati songs are the reasons for this change. From the phenomenon of recollected works, it is possible to further explore the alternate changes from Ci to Qu, on the one hand to classify the differences between the Ci and Qu, and on the other hand, to understand the alternate changing process from Ci to Qu.
引文
[1]王国维.宋元戏曲史[M].北京:团结出版社,2005.
[2]林克胜.词谱律析[M].北京:商务印书馆,2013.
[3]谢桃坊.《词谱》误收之元曲考辨[J].东南大学学报(哲学社会科学版),2009(4):87-92+128.
[4]李昌集.关于“词曲递变”研究的几个问题[J].吉林大学社会科学学报,2012(6):93-106+92.
[5]王骥德.曲律注释[M].陈多,叶长海,注释.上海:上海古籍出版社,2012.
[6]严学窘.广韵[M].北京:中国国际广播出版社,2011.
[7]周德清.中原音韵[M].北京:国家图书馆出版社,2012.
[8]李蕊.元曲用韵研究[J].北京:社会科学文献出版社,2015(9):18-49.
(1)唐圭璋《全金元词(上、下)》中无“[么]”,后有相同的不再注明。有注“宋金人词皆无黑漆弩一调流传,惟元人卢挚作黑漆弩词,序谓所作乃和田伐韵。田不伐名为,宋徽宗时,曾为大晟府典乐,可见黑漆弩词调北宋时已有。惜今田不伐原作已不传,可能此调乃乐府录此两首归入词一类,亦可登记此调原系词调”。
(1)隋树森《全元散曲(上、下)》九六。唐圭璋《全金元词(上、下)》六八四中收录的是:“休官彭泽居闲久。纵清苦、爱吾子能守。幸年来、所事消磨,只有苦吟甘酒。平生道在初心,富贵浮云何有。恐此身、未许投闲,又待看、凤麟飞走。”
(2)隋树森《全元散曲(上、下)》一〇四。唐圭璋《全金元词(上、下)》七二五收录的是:“湖南长忆嵩南住,只怕失约了巢父。舣归舟、唤醒湖光,听我篷窗春雨。故人倾倒襟期,我亦载愁东去。记朝来、黯别江滨,又弭棹、蛾眉晚处。”
(3)隋树森《全元散曲(上、下)》二一七。唐圭璋《全金元词(上、下)》七七七中收录的是:“高巾阔领深村住,不识我、唤作伧父。掩白沙、翠竹柴门,听彻秋来夜雨。闲将得失,思量往事,水流东去。便直交、画却凌烟,甚是功名了处。”
(4)隋树森《全元散曲(上、下)》二一八。唐圭璋《全金元词(上、下)》七七七中收录的是:“吾庐恰近江鸥住。更几个、好事农父。对青山、枕上诗成,一阵沙头风雨。酒旗只隔横塘,自过小桥沽去。尽疏狂、不怕人嫌,是我生平喜处。”
(5)隋树森《全元散曲(上、下)》九三六。唐圭璋《全金元词(上、下)》九三二中收录的是:“断塘流水洗凝脂,早起索吟诗。何处觅西施。垂杨柳、萧萧鬓丝。银匙藻井,粉香梅圃,万瓦玉参差。一曲乐天词,富贵似、吴王在时。”
[2]林克胜.词谱律析[M].北京:商务印书馆,2013.
[3]谢桃坊.《词谱》误收之元曲考辨[J].东南大学学报(哲学社会科学版),2009(4):87-92+128.
[4]李昌集.关于“词曲递变”研究的几个问题[J].吉林大学社会科学学报,2012(6):93-106+92.
[5]王骥德.曲律注释[M].陈多,叶长海,注释.上海:上海古籍出版社,2012.
[6]严学窘.广韵[M].北京:中国国际广播出版社,2011.
[7]周德清.中原音韵[M].北京:国家图书馆出版社,2012.
[8]李蕊.元曲用韵研究[J].北京:社会科学文献出版社,2015(9):18-49.
(1)唐圭璋《全金元词(上、下)》中无“[么]”,后有相同的不再注明。有注“宋金人词皆无黑漆弩一调流传,惟元人卢挚作黑漆弩词,序谓所作乃和田伐韵。田不伐名为,宋徽宗时,曾为大晟府典乐,可见黑漆弩词调北宋时已有。惜今田不伐原作已不传,可能此调乃乐府录此两首归入词一类,亦可登记此调原系词调”。
(1)隋树森《全元散曲(上、下)》九六。唐圭璋《全金元词(上、下)》六八四中收录的是:“休官彭泽居闲久。纵清苦、爱吾子能守。幸年来、所事消磨,只有苦吟甘酒。平生道在初心,富贵浮云何有。恐此身、未许投闲,又待看、凤麟飞走。”
(2)隋树森《全元散曲(上、下)》一〇四。唐圭璋《全金元词(上、下)》七二五收录的是:“湖南长忆嵩南住,只怕失约了巢父。舣归舟、唤醒湖光,听我篷窗春雨。故人倾倒襟期,我亦载愁东去。记朝来、黯别江滨,又弭棹、蛾眉晚处。”
(3)隋树森《全元散曲(上、下)》二一七。唐圭璋《全金元词(上、下)》七七七中收录的是:“高巾阔领深村住,不识我、唤作伧父。掩白沙、翠竹柴门,听彻秋来夜雨。闲将得失,思量往事,水流东去。便直交、画却凌烟,甚是功名了处。”
(4)隋树森《全元散曲(上、下)》二一八。唐圭璋《全金元词(上、下)》七七七中收录的是:“吾庐恰近江鸥住。更几个、好事农父。对青山、枕上诗成,一阵沙头风雨。酒旗只隔横塘,自过小桥沽去。尽疏狂、不怕人嫌,是我生平喜处。”
(5)隋树森《全元散曲(上、下)》九三六。唐圭璋《全金元词(上、下)》九三二中收录的是:“断塘流水洗凝脂,早起索吟诗。何处觅西施。垂杨柳、萧萧鬓丝。银匙藻井,粉香梅圃,万瓦玉参差。一曲乐天词,富贵似、吴王在时。”