來源：“學(xué)習(xí)強(qiáng)國”學(xué)習(xí)平臺

主要含義有二：其一，指評論詞人、詞作、詞派，記述詞的本事及相關(guān)考訂的著作，是中國古代詩學(xué)文獻(xiàn)的一個組成部分。詞話借鑒詩話而來，濫觴于北宋，成熟于南宋。著名的詞話著作有清代陳廷焯（1853—1892）的《白雨齋詞話》、王國維（1877—1927）的《人間詞話》等?！度碎g詞話》是王國維在接受了西方美學(xué)理論之后，融匯中西美學(xué)思想，以嶄新的眼光對中國詞人與詞作作出的評論。表面上看，《人間詞話》沿襲了中國傳統(tǒng)的詩話、詞話一類作品的體例，實(shí)際上它已初具理論體系，是晚清以來最有影響的文藝批評著作之一。其二，指盛行于元、明兩代的一種說唱藝術(shù)形式（其中的“詞”主要指詞曲），如《大唐秦王詞話》，有說有唱，韻文、散文并用。由宋代說話伎藝發(fā)展而來，明代中葉以后，逐漸演變?yōu)閺椩~和鼓詞兩個系統(tǒng)，并且取代了“詞話”名稱。明后期及清前期“詞話”還曾用來指稱夾雜詞曲的章回體通俗小說。

This term has a two-fold meaning. First, it refers to any work that offers commentaries on ci poets, poems, schools of ci poetry, the gist of a ci poem and textual criticisms. This type of work is a constituent part of scholarly inquiry into classical Chinese ci poetry. Criticism on ci poetry, with relatively long lines interspersed with shorter ones, are derived from criticism on the more usual type of classical Chinese poetry with a fixed number of characters to a line. They proliferated in the Northern Song Dynasty and matured in the Southern Song Dynasty. Famed works of ci poetry appreciation include Remarks on Lyrics from White Rain Studio by Chen Tingzhuo (1853-1892) and Poetic Remarks in the Human World by Wang Guowei (1877-1927), both from the Qing Dynasty. The latter work, written after Wang Guowei was influenced by Western aesthetic theories, and fusing Chinese and Western aesthetic thoughts together, was a criticism work on Chinese ci poets and ci poems made from a brand-new perspective. Although superficially it imitates the traditional way of offering commentaries on shi poetry and ci poetry, it in fact already attempts to construct a theoretic system. It has remained the most influential work of literary criticism since the late-Qing period.

Second, the term Cihua also refers to an art of theatrical performance combining narratives and songs popular in the Yuan and Ming dynasties, in which the ci part is the singing of rhymed verse. As in Tales of Prince Qin of the Great Tang Dynasty, the performance intersperses singing with narrative, and verse with prose. It was developed from the performance of story-telling with speech and song of the Song Dynasty. After the mid-Ming Dynasty, such performances started to adopt two new terms: tanci (彈詞), or story-telling with the accompaniment of musical instruments such as the Chinese lute, and guci (鼓詞), or story-telling aided by a drum and clapper. Still later, these two new terms superseded the old. From the last years of the Ming to the first years of the Qing, this term was sometimes also used to refer to a popular novel with each chapter headed by a couplet giving the gist of its content which was interspersed with beautiful verse.

引例 Citations：

◎玩月新詩偏有趣，興唐詞話更消閑。（《大唐秦王詞話》第四十六回）

賞月的新詩實(shí)在有趣，但講唱大唐興起的詞話更能使聽眾消閑。

The new-style poetry in praise of the moon may be fun, but spoken and sung tales of Li Shimin's rise to the throne are far more intriguing. (Tales of Prince Qin of the Great Tang Dynasty)

◎詞話者，紀(jì)詞林之故實(shí)，辨詞體之流變，道詞家之短長也。（謝之勃《論詞話》，《國專季刊》第一期）

詞話，用來記錄詞林的典故，辨析詞體的流變，評論詞家的優(yōu)缺點(diǎn)。

Commentaries on ci poetry record the classics of lyrical poetry, analyze the various styles of ci poetry, and enumerate the merits and shortcomings of ci poets. (Xie Zhibo: On Ci Poetry Commentaries)

推薦：教育部 國家語委

供稿：北京外國語大學(xué) 外語教學(xué)與研究出版社

責(zé)任編輯：錢耐安