论文总字数：56247字

摘 要

靖康之难后，曾经生活条件优渥的北宋词人面对外族入侵、国土不保、被迫流亡的残酷现实，原先的人生轨迹被改写、内心世界也受到了严重的打击。南渡词人的作品，充分体现了易代之际文人心态和思想的变化；尤其在意象的选取和使用上，南渡前后的作品具有明显的差异。鸟类意象是中国古典诗词的常见意象，蕴含了极为丰富的感情象征和思想内涵。因此，可以将鸟类意象视为切入点，对南渡词人在特殊历史时期的心态进行探究。通过对南渡词作中的鸟类意象按创作系年进行统计和分类，能够从宏观层面上看出词人在南渡前多用“莺”“燕”等意象表现安逸富贵的生活情趣，而南渡后则多用“鸦”“雁”“鸥”等意象表现国破家亡的痛苦、思念故土的深情与隐逸避世的理想。结合南渡后的作品文本与个人经历，能够从微观层面上看出不同时期、不同词人在鸟类意象的选取偏好和使用方式上存在明显差异，而这就是南渡后文人心态复杂演变的外在表现。另外，从文学审美的角度，南渡词人使用的鸟类意象既有对前代写作惯例的继承，也有属于这个时代的独特创新，对后世文人产生了深远影响；这些继承的选择和创新的变革，也与易代之际的社会环境下文人心态的特殊性密切相关。

关键词：南渡词人，鸟类意象，文人心态

Abstract

After the disaster of Jingkang, the former Northern Song Dynasty poets faced the cruel reality of foreign invasion, territorial insecurity and forced exile. The original life direction was rewritten and the mentality was severely hit. The works of ci-poets drifting southward fully reflect the changes of the minds and ideology during the changeable generation; especially in the selection and use of images, there are obvious differences between the works before and after drifting southward. The image of birds is a common image of Chinese classical poetry, and contains a rich emotional symbol and ideological connotation. Therefore, the image of birds can be regarded as an entry point to explore the mentality of ci-poets drifting southward in a special historical period. Through the statistics and classification of the images of birds in the works by the years of creation of ci-poets drifting southward, it can be seen from the macroscopic level that the poets use the images of “warbler” and “swallow” to express the comfort and richness of life before drifting southward. In the works after drifting southward, the images such as “crow”, “geese”, and “gulls” were used to express the pain of the country’s destruction and the thoughts of the homeland and the ideal of escaping the world. Combining the texts and personal experiences after drifting southward, it can be seen from the microscopic level that there are obvious differences in the choice and use of bird images between different periods and different poets. This is the external performance of the mind’s complex evolution of the literati after drifting southward. In addition, from the literary aesthetic point of view, the bird images used by ci-poets drifting southward have inherited the writing practice of previous generations, and they also have unique innovations that belong to this era, which have had a profound influence on the later generations of literati. These inherited choices and innovations changes are also closely related to the special mentality of the literati in the social environment at the changeable generation.

KEY WORDS: ci-poets drifting southward, bird image, mentality of writer

目录

摘要 I

Abstract II

绪论 1

第一章 南渡词作中的鸟类意象概述 5

第一节 南渡词作中的鸟类意象统计 5

（一）统计方式与原则 5

（二）统计结果 6

第二节 南渡前词作中常见的鸟类意象 7

（一）莺/鹂 7

（二）燕 8

（三）鸟 8

第三节 南渡后词作中常见的鸟类意象 9

（一）杜鹃/子规/鶗鴂/啼鴂 10

（二）鹏 11

（三）鹤 12

第二章 南渡词人的复杂心态在鸟类意象中的体现 13

第一节 苦难现实的描写方式——以鸦意象的不同用法为例 13

（一）悲惨命运带来的绝望 14

（二）难抑愤懑的家仇国恨 15

（三）逃避现实中寻求解脱 16

第二节 人生道路的决断与选择——以鸿雁意象的不同用法为例 18

（一）抒发报国抗敌的志向 18

（二）陷入思乡念旧的迷惘 21

（三）明哲保身中远离危险 22

第三节 归隐之后的心态差异——以鸥鹭意象的不同用法为例 24

（一）飘泊无依的孤鸥 25

（二）身隐心未隐的鹓鹭 25

（三）田园牧歌式的鸥鹭 27

第三章 南渡词人对鸟类意象的传承与新变 29

第一节 对前代文人鸟类意象的传承 29

（一）文学大家开创的经典鸟类意象——以“倦鸟”意象为例 29

（二）文人自发使用的流行鸟类意象——以“鸿”、“雁”意象为例 30

第二节 对鸟类意象创作惯例的革新 32

第三节 南渡词人鸟类意象对后世的影响 34

结语 37

参考文献 38

致谢 42

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