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一、引言:作为词学本体论范畴的‘情’‘情’‘志’作为文论范畴,其使用意义时有交叉。但是,当‘诗言志’、‘词缘情’对等并提的时候,‘情’和‘志’在意义上却各有侧重——‘志’往往用以指称关乎修齐治平的社会意识,反映的多是关乎家国的宏大题材,艺术风貌也常常因此而带有慷慨雄浑的特点;‘情’却一般凝定为个体情感的抒发,其私语似的儿女情长使作品多呈现出婉转隐约的艺术风貌。虽然言志与缘情的功能性差异并不足以完全说明诗词的文体之辨,但词独特的音乐韵律,吞吐有致、委曲缠绵的长短句形式,以及特定的女性化传播性质,使得词体在萌生和发展的过程中,越来越将‘儿女情长’从传统诗歌中剥离了出来,成为自己颇为独特的题材和
I. INTRODUCTION As the category of literary theory, the “feelings”, “feelings” and “feelings”, which are the categories of Ci-poetry ontology, have their meaning of use sometimes. However, when ’poetic motto’ and ’proverbial affectionate’ are equal and mention, ’emotion’ and ’ambition’ have different meanings in their meaning - ’ambition’ Consciousness and reflection mostly relate to the grand theme of the home country, and the artistic style often has the characteristics of being generous and magnificent. However, the affection generally settles into the expression of individual emotions. A polite artistic style. Although the functional differences between the dialect and the sentiment are not enough to fully explain the stylistic distinction of the poem, the unique musical rhythm of the poem, delicate and long sentences, and the specific feminine transmission have made the Ci In the process of development, more and more children and women are stripped from the traditional poems and become their own unique subjects.