论晚明士大夫歌妓词的新变及其心学意蕴
On the development and new features of Geisha Ci-poetry and its significance in the philosophy of mind in the late Ming Dynasty

摘 要： 晚明士大夫歌妓词是程朱理学禁欲思想消融之后的产物。晚明士人对歌妓的爱赏，就歌妓之美而言，没有停留在肉欲层面，而是上升到审美层面，以“态”与“韵”来观照歌妓；就歌妓之艺而言，除了歌舞技艺，更推重其诗词书画等文艺才能；就两性之间情感而言，大多能去除逢场作戏之虚情，而以真切、诚挚、深厚见长。晚明士大夫歌妓词的这种新变，与阳明心学“求乐自适”“好色之诚”等观念流播中的变异及社会风尚的推动密切相关。
Abstract: Geisha Ci-poetry of in the late Ming Dynasty was a result of removing Neo-Confucianism’s Abstinence thought. In terms of geisha’s beauty, the late Ming poets’ love went beyond the geisha’s erotic beauty to their aesthetic charm, esteeming their singing and dancing. In terms of the geisha’s art, the Late-Ming poets appreciated their artistic talents in poetry, Ci, calligraphy and painting apart from their singing and dancing. In terms of the emotional bond between the two sexes, most poets were sincere to them. The development and new features of geisha Ci-poetry of the late Ming Dynasty were closely related to Wang Yangming’s philosophy of mind, which advocated self-enjoyment and honesty in enjoying beauty. What is more, social trends also promoted it