作　　者： ; ;

机构地区： 暨南大学文学院中国语言文学系

出　　处： 《深圳大学学报（人文社会科学版）》 2009年第2期104-110,共7页

摘　　要： 宋孝宗前期,曾觌、张抡等人的应制、颂谀词,多歌颂高宗与孝宗"父尧子舜"、"两宫交欢"。此期法曲、大曲较兴盛,史浩的大曲,有歌词、乐语,载歌演之状,为此前的摘遍形式所未及。洪适以联章成"转踏",一诗一词,用作演唱。此期诗人为词者不少,范成大既善写田园生活,又因曾使金,其词也能跳出"令人心平气和"之外。杨万里的诗被称为"诚斋体",其词有近似之处。南渡时,因家国之变,留下了较多表现自身不幸的女性词。高、孝相交时期,女性词的创作持续兴盛,虽作品不多,却各有特色,其中最杰出的女词人是朱淑真。 In earlier years of the Song emperor, Xiaozong＇s rule, occasional and flattery lyric verse （ci） by Zeng Di and Zhang Lun mostly sings hymns to Gaozong and Xiaozong, as in ＂The father is as capable as Emperor Yao and the son as Emperor Shun＂ and ＂the two palaces are on good terms＂. Verse in the form of faqu and daqu thrived during this period. Daqu composed by Shi Hao contains lyrics and musical language singing and dancing, which transcends over earlier forms. Hong Shi writes in the cyclic form of , reminiscent of zhuanta, i.e. one poem coupled with one lyric verse for singing. At that time, not a few poets compose lyric verse. Fan Chengda is not only good at writing about pastoral life, but also is able to take lyric verse beyond the confines of quieting effect because of his diplomatic mission to the kingdom of Jin. Yang Wangli＇s poetry is known as ＂chenzhai transitional period from Gaozong＇s rule to Xiaozong＇ s, production of women＇s lyric verse constitutes to flourish, small in number but distinctive in style, among whom Zhu Shuzhen is the most prominent.

关 键 词： 宋孝宗前期 颂谀词 大曲 诗人之词 女性词

领　　域： [文学]