“秋思”:共象、移句、杂诗

IF 0.3 4区 社会学 0 ASIAN STUDIES Early Medieval China Pub Date : 2021-01-01 DOI:10.1080/15299104.2021.1974740
S. West
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引用次数: 0

摘要

十六世纪末,马致远创作了以《秋思》为曲调的著名短曲《天经沙》。尽管从十四世纪到二十世纪,一长串重要的瞿学者持怀疑态度,但从小学到博士课程,这种归因仍然在教科书中重复。仔细研究1309年以后的现存版本可以发现,根据上下文的使用,从窄到宽存在一定程度的差异。歌词中的短语也可能早在十二世纪末就被发现。通过仔细研究这些来源以及《天经沙》的音调模式在其他来源中的扩展、收缩和利用方式,我们可以看出,构成这首诗的名句的使用是在语境和韵律结合的时候发生的。这让人怀疑这首歌词的作者身份是否可能,或者这只是使用了几乎陈词滥调的短语,而这些短语恰好以完美的顺序组合在一起。这将符合我们对表演传统的了解,以及它通过积累进行集体和匿名创作的趋势。
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“Autumn Thoughts”: Shared Images, Shifting Phrases, and Promiscuous Poetics
The famous short sanqu lyric known as “Autumn Thoughts” to the tune “Tianjing sha” has been attributed to Ma Zhiyuan since the late sixteenth century. Despite the skepticism of a long list of important qu scholars from the fourteenth to the twentieth century, this attribution is still repeated in textbooks from grade school to doctoral programs. A careful examination of extant versions from 1309 onward shows some degree of difference, from narrow to wide, dependent on contextual use. Phrases from the lyric may also be found as early as the late twelfth century. By carefully investigating these sources and the way in which the tonal pattern of “Tianjing sha” is expanded, contracted, and exploited in other sources, we can see that the use of the famous phrases making up the poem occurs when context and rhyme come together. This leads one to doubt whether attributable authorship of the lyric is possible, or if it is simply the use of nearly cliché phrases that just happened to combine in exactly the perfect order. This would fit with what we know about the performance tradition and about its tendency for collective and anonymous creation through accretion.
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来源期刊
Early Medieval China
Early Medieval China ASIAN STUDIES-
CiteScore
0.30
自引率
0.00%
发文量
8
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