“秦七黄九”补说

宋代陈师道提出"秦七黄九"的说法后,直至清代才有明确的质疑之声。"秦七黄九"之说诞生的历史语境与文本语境究竟如何?本文在邓子勉先生《解读"秦七黄九"》一文的基础上,通过对既有材料的深入理解,试做补说:于作词并称"秦七黄九",盖陈师道一家之言,在视词为小道末技的宋人眼中并无争论之必要,故得流于后世;《后山诗话》所述,乃针对秦、黄词作皆"合乐可歌"而言,并非总论二人词作成就。

Complementary Discussion on Qin Seven and Huang Nine

Chen Shidao in Song Dynasty gave his perspective of "Qin Seven and Huang Nine" which wasn’t under question until Qing Dynasty.In what historical context and text context did this perspective come into being? This paper is based on Deng Zi-mian’s paper The Interpretation of "Qin Seven and Huang Nine" and tries to make an additional remark through existing historical materials.About Chen Shidao’s opinion that the so-called "Qin Seven and Huang Nine" in the writing of Ci-poems is just statements of a school.There is no necessity to discuss this because of Ci-poems’s underestimation in Song Dynasty,so it spread.When it comes to Houshan Shihua,it mainly aimed at the trait of musicality and singable in the Ci-poems of both Qin Guan and Huang Tingjian,not on the achievements of the two authors.