“曲中有人”是词作为文本演唱的基本要求,也是抒情功能的直接表现。这个人可以是具有个性的作者,也可以是大众层面的“他者”。词人们在与自然共舞的过程中,把从社会生活中积淀的情感体验投向了山水清音之中,从而达到了净化心灵的预期书写。文本的历史总是能够被研究者以各种方式构建出来,而承载抒情功能的文本却又是相对独立的。抒情文本的超越性解读实际上是读者在填补“空白”的过程中带来的一种收获。对文本的“敞开”必然要经历一个理解—解读—理解的过程。在“类”的范围内,首先是从个体的抒情体验中抽绎出来群体体验,在群体体验的基础上被细化的产物依然是个体的情感体验。中国文学批评传统中的“知人论世”一直在批评者的血脉中流淌,只要时机适当自然会发声,而且还要占主导地位。文学文本解读是对话的过程,对话之中是否会将作者保留下来是阅读者的主体行为。在文本与阅读者之间究竟会发生什么,往往取决于阅读心境。 “Someone in the song ” is the basic requirement of the word as a text singing, but also a direct manifestation of the lyrical function. This person can be an individual author, or a mass-level “other”. Ci people in the process of dances with nature, from the emotional experience accumulated in social life into the landscape sound, so as to achieve the desired goal of purifying the soul. The history of texts can always be constructed in various ways by researchers, while the texts that carry lyrical functions are relatively independent. The transcendental interpretation of lyrical texts is actually a reward for readers to fill in the “blank”. The “openness” to the text necessarily goes through a process of understanding - reading - comprehension. In the category of “category ”, the first is to deduce the group experience from the individual’s lyrical experience. The product refined on the basis of the group experience is still the individual’s emotional experience. The tradition of literary criticism in the Chinese literary criticism has always been flowing in the blood of critics. As long as the time is right, it will naturally sound but will also dominate. Literary text interpretation is the process of dialogue, the dialogue will remain the author is the reader’s subjective behavior. What happens between the text and the reader often depends on the reading mood.