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自晚明以来 ,人们论明中叶散曲 ,一般首论康海、王九思等人 ,至近现代 ,或以为康海是明中叶散曲复兴的第一人 ,但实际上他的散曲创作比陈铎、王磐等明中叶著名散曲家要晚三四十年。这一认识上的重大失误 ,导致对康海散曲历史贡献的论述难免似是而非。又因为一些特殊原因 ,对康曲的创作特征也缺乏正确的认识与评价。本文在弄清康海等人散曲创作活动确切年代的基础上 ,结合康海的遭遇 ,对康曲沉郁而雄豪的风格特征、弘扬元代豪放派曲风而变明中叶才子词场之曲为志士抒怀之曲的历史贡献做了清晰的论述。
Since the late Ming Dynasty, people have argued that in the middle of the Song Dynasty, people generally refer to Kang Hai and Wang Jiusi and others to modern times, or think that Kang Hai was the first person to revive Sanming in the middle of Ming Dynasty. However, in fact, Pan and other Ming Dynasty famous songwriter to thirty or forty years late. This major mistake in understanding led to the historical contribu- tion of Kanghai Sutra inevitably plausible. And because of some special reasons, there is a lack of correct cognition and appraisal on Kangqu’s creative features. This article, on the basis of understanding the exact time of Kang Hai et al.’s Sanqu creation, combined with the experience of Kanghai, expounded the style of depression and heroism of Kangqu, carried forward the genre of gentry in Yuan Dynasty, For Chester’s song of the historical contribution made a clear discussion.