"艷詩"概念的形成與"艷"一字的含義相關聯,二者在過去的文化語境中皆因暗含"危險性"的因素從而被權力建構成了典型的負面形象,這類批判話語遂構成了艷詩評論的主基調,艷詩一詞的內涵也因此具有了明顯的意識形態意味。明清時期關于艷詩的評論出現了兩類新型的話語,一者從"情本"論出發強調其獨立的意義與價值,構成了一種反抗型的話語;一者或從"雅正"的角度為其劃定范圍,或聲稱艷詩也可含有寄托,從而構成了一種改編型的話語。這些觀點皆與當時詩學發展的大方向具有較強的趨同性,并顯示出人們希望從理論層面對艷詩形象進行重構的意圖。然而儒家理念的意識形態主導權決定了批判性話語始終具有不可動搖的地位,且其至今仍發揮著強大的慣性作用,從而導致艷詩研究一直未能擺脫邊緣化的境地。

The formation of the concept"amorous poem"related to the semantic meaning of the character "yan"( glamorous),and both of them were constructed as typical negative images due to their implicit"dangerous factors"in the cultural context of the past. These critical discourses thus set the tone of remarks on amorous poems,and the connotation of amorous poems thence showed a clearly ideological implication. But two new types of discourse in the remarks on amorous poems emerged in the Ming and Qing Dynasties. One emphasized the independent significance and value by the theory of "emotion-rootedness ",and constituted a discourse of rebellion. The other formulated the scope of amorous poems by the concept"elegant legitimism",or claimed that amorous poems can also contain the element of sustenance,thus formed a discourse of adaptation. These views all displayed an obvious consistency with the environment of poetics at that time,and showed the intention that people wanted to reconstruct the image of amorous poems on the theoretical level. However,the ideological dominance of Confucianism determined that the critical discourse always took the unshakable advantage,and it still exerts a powerful inertial effect nowadays,which caused the marginalization of research on amorous poems.