包含了子夜歌群在內的吳歌文本，雖是民間佚名者所作，卻積澱了相當獨特的文 學經驗與審美品質。而其產生之後，不僅逐漸成為六朝貴族文娛生活中極為重要的一環，更 影響了南北朝、乃至唐代以降新體詩的流行。因此，歷代雖不乏視其為俚俗淫艷之聲的論調 ，卻無可否認其在文學及美學史上的關鍵地位。值得注意的是，如此詩作之所以發展，與六 朝建康城作為一處政經都城所積累的異質時空是脫不了關係的。質言之，長江流域下游以繁 華商旅為主之情色生活及表徵建構，非僅提供了特殊的文學想像，更催發了充滿生命力的市 井美學的蓬勃發艱。本文即擬從文學社會學及人文地理學的角度對此現象作一考察，除指出 子夜歌群市井美學形成之時空因素外，更將闡明其所具有的細膩美學特質，以明瞭子夜歌群 作為一種植基於前現代城鎮文明中的美學產物，其所特有的將詩歌創作視野拉回人間的積極 意義！
Although the texts of the folksongs of Wu (吳歌), including the Tzuyeh folksongs (子夜歌), were created by the anonymously common people, they accumulated very abundantly literary experiences and aesthetic qualities. As they were emerging, they not only gradually became the crucial part of the leisured livings of the Six Dynasties' (六朝) aristocrats, but also influenced the new styles of poems which prevailed from the South and North Dynasties (南北朝) until the T'ang Dynasty (唐朝) hereafter. Though there existed so many opinions to see them as low-class songs in many dynasties, the folksongs of Wu acquired the very important role in the literary and aesthetic history. It's worthy to note that the possibilities of the development of these folksongs were mainly due to the qualities of heterotopia which were produced by the condition of the Chien K'ang city (建康城) as a political and economic capital. In a word, the erotic and representational construction of the affluently merchant lives in the downstream of Yang Tzu River (長江) not only produced the particular literary imagination, but also developed a lively aesthetics that belonged to common people. This paper aims to point out the time-spatial causes which resulted in the Tzu-yeh folksongs and explore deliberately the contents of their aesthetics from the angle of literary sociology and human geography. So we can realize that the creation of Tzu-yeh folksongs as aesthetic products of the civilization of pre-modern cities should have its positive meaning to give poetry its worldly qualities.
