| 摘要: | 本文以女性詞清代批評為研究對象。女性詞批評，即是對女性詞的批評。女性詞清代批評是指清代人以女性詞人或女性詞為對象，採詞選集、詞作評點、詞話、序跋、論詞詩詞、論詞文、書札等批評形式對女性詞所作的批評。
本文對女性詞清代批評文獻進行綜述，從中可見清代論述女性詞的文獻形式和數量豐富、且批評者與批評對象的身份多元化，蘊含著豐富的詞學批評意義和性別文化內涵。在清代的不同階段，女性詞的批評形式和方式有所偏重和變化。通過論述女性詞清代批評的歷史脈絡，可見從宋代至明末：女性詞批評是從沉寂到漸起的過程。清代前期女性詞的創作與批評也隨著詞體創作的復興而興起，同時女性的詞學主體意識也在覺醒、發展。清代中期的女性詞批評也隨著詞學發展而蓬勃發展，這體現在女性詞批評文獻的多元、豐富與批評主體的身份多元化。清代後期（含民初），女性詞批評隨著詞學的繁盛而盛行，此時期具有批評主體的身份多元、批評對象的繁多、批評文獻的豐富與新變的特徵。在晚清民初的社會變動和新思潮影響下，女性詞批評也產生了與之相適應的新變，這個新變既有積極的一面，也有消極的一面並引起爭論。
從清代女性詞的創作與批評的互動情況中，可見女性詞的創作和批評呈互相促進的關係，其次可見清人批評對清代女性詞具有的溢美傾向，再次清人具有將女性詞香艷化解讀的傾向。清人對女性詞批評書寫呈現出文學性，其中涵具女性詞接受的性別意涵和文化意義。清人對女性詞的批評書寫反映的詞學觀念，可歸納為價值論與創造論兩方面。
在清代的父權文化語境下，清人不論是男性文人，還是才媛，對女性詞人「德、才、色、情」的論述，皆是以「男性凝視」的預設視角看待女性，即以男性文人的女性觀評論女性，其中灌注著男性文人對理想女性的心理追求。清人無論男性文人還是才媛關於女子「才命相妨」的論述與認同，涵具對才女薄命的憐惜以及情感投射，其中蘊涵著不同的性別意識。
清人認為閨秀詞的本色是柔媚的風格。男性文人及部分閨秀推崇女性詞的「清雅脫俗」、「雄壯」等審美風格作為女性「非脂粉化」的詞學風範而大加揄揚，而摒棄了主流閨秀詞具有的柔媚的主體風格。其目的是提昇女性詞的地位，但皆是以男性為中心的批評視角評論女性詞。但也有閨秀如沈彩是從女性本來的性別特徵出發肯定女性詩詞的脂粉氣，具有女性主體意識。清人在女性詞評中對「林下風」和「丈夫氣」的揄揚，具有將女性詞人「名士化」和「丈夫化」的意涵，也就是將女性詞人「男性化」的審美接受，具有顛倒性別的批評內涵。另外，清代中後期對女性詞批評著意強調「溫柔敦厚」，雖然是對女性詞本色的審美接受，但也有依照傳統詩教觀要求女性詞創作的意味。這體現了以男性為中心的批評標準。
通過梳理清代對李清照和朱淑真之批評接受，可見清代詞論對李清照和朱淑真是人品與詞品的糾纏接受，二者難以分割。朱淑真成了歷代文人寄託理想的才女型佳人形象的典型；而李清照是作為寄託一代女傑的理想才女形象的典型。從中可見清代文人尤其是男性文人的理想才女形象是「才德貌」三全或「才德識」三全。另外，清代人著重於對李清照、朱淑真的貞節翻案和肯定，則表明了清代注重道德的才女觀和注重人品的詞學批評觀。
女性詞清代批評具有的價值及對後世的影響體現在：一是女性詞批評促進了女性詞的經典化；二是女性詞批評有助於女性詞史的建構和女性詞研究的開拓；三是女性詞的批評促進了女性詞的傳播和接受。
;This paper takes the female Ci criticism in Qing Dynasty as the research object. The female Ci criticism is the criticism of female Ci. Criticism of female Ci in the Qing Dynasty refers to the Qing Dynasty’s criticism of female Ci in the form of anthologies, Ci commentaries, Ci discourses, prefaces and postscripts, Ci-commenting poems and essays, analects, and letters.
This article summarizes the critical literature on female Ci in the Qing Dynasty, from which we can see that the literature on female Ci in the Qing Dynasty is rich in form and quantity, and the identities of critics and criticism objects are diversified, which contains rich Ci criticism and gender cultural connotations. At different stages of the Qing Dynasty, the forms and methods of criticism of women’s Ci were emphasized and changed. By discussing the historical context of the criticism of female Ci in the Qing Dynasty, it can be seen that the criticism of female Ci was a process from silence to gradual rise from the Song Dynasty to the end of the Ming Dynasty. The creation and criticism of women’s Ci in the early Qing Dynasty also rose with the revival of Ci style creation, and at the same time, women’s subject consciousness of Ci was also awakening and developing. The criticism of female Ci in the mid-Qing Dynasty also flourished with the development of Ci, which is reflected in the diversity and richness of the critical literature on female Ci and the diversification of the identity of the subject of criticism. In the late Qing Dynasty (including the beginning of the Republic of China), the criticism of women’s Ci became popular with the prosperity of Ci studies. This period was characterized by the multiple identities of the subject of criticism, the variety of criticism objects, and the abundance and change of criticism literature. Under the influence of social changes and new thoughts in the late Qing Dynasty and the early Republic of China, the criticism of women’s Ci also produced new changes corresponding to it. This new change has both positive and negative sides And cause controversy..
From the interaction between the creation and criticism of female Ci in the Qing Dynasty, it can be seen that the creation and criticism of female Ci are mutually reinforcing. Secondly, it can be seen that Qing people’s criticism has a tendency to overpraise female Ci in Qing Dynasty. Thirdly, the Qing people have the tendency to interpret female Ci erotically. The Qing people’s critical writing of women’s Ci shows a literariness, which contains acceptance on women’s Ci with gender connotations and cultural meanings. The Qing people’s critical writing of women’s Ci reflects their literary concept, which can be summarized into two aspects: value theory and creation theory.
In the context of patriarchal culture in the Qing Dynasty, whether they were male literati or talented women, the Qing people’s discussion of female poets’ “virtue, talent, femininity, and emotion” all viewed women from the presupposed perspective of “masculine gaze”, that is, to comment on women from the male literati’s view of women, which instills the male literati’s psychological pursuit of ideal women. In the Qing Dynasty, both male literati and talented women discussed and recognized that women’s “talents and fates harm each other”, which contains pity and emotional projection for talented women’s fate, which contains different gender consciousness.
People in the Qing Dynasty believed that the essence of women’s Ci showed a feminine style. Male literati a some women praised the aesthetic style of female Ci such as "elegant and refined" and "majestic" as the style of female CI study, but abandoned the soft main style of mainstream boudoir Ci. Its purpose is to promote the status of female Ci, but all of them are reviewed from a male-centered critical perspective. But there are also ladies such as Shen Cai who affirmed the powdery style of women’s Ci and poetry from the original gender characteristics of women, and showed a sense of female subjectivity. The praise of “bamboo grove sages’ demeanor” and “masculinity” in the Qing Dynasty’s female poet reviews embodied the meaning of "celebrity" and "husbandization" of female poets, that is, the aesthetic reception of “masculinization” of female poets, which had a gender-reversing critical connotation. In addition, the criticism of women’s Ci in the middle and late Qing Dynasty deliberately emphasized “gentleness and honesty”. Although it was an aesthetic acceptance of the true nature of women’s Ci, it also meant that the creation of women’s Ci was required to be in accordance with the traditional concept of poetry. This embodied male-centric standards of criticism.
By sorting out the criticism and acceptance of Li Qingzhao and Zhu Shuzhen in Qing Dynasty, it can be seen that the Ci theory of Qing Dynasty is the entanglement and acceptance of Li Qingzhao and Zhu Shuzhen, which is difficult to separate. Zhu Shuzhen has become a typical image of a talented woman on whom literati pinned ideals in the past dynasties, and Li Qingzhao a typical image of an ideal talented woman, a generation of heroines. It can be seen that the ideal image of a talented woman of the literati in the Qing Dynasty, especially the male literati, included three qualities, that is, talent, virtue, appearance or talent, morality and knowledge. In addition, people in the Qing Dynasty focused on overturning and affirming the chastity of Li Qingzhao and Zhu Shuzhen, which showed that the Qing Dynasty emphasized the morality of talented women and the moral character of Ci criticism.
The value of Qing Dynasty criticism of female Ci and its influence on later generations are reflected in: first, the criticism of female Ci has promoted the canonization of female Ci; Second, the criticism of female Ci is helpful to the construction of the history of female Ci and the development of research on female Ci；The third is that The criticism of women’s Ci has promoted the spread and acceptance of female Ci. |
