永明詩學與五言詩的聲境形塑

本文以南齊永明體的生成為核心，結合文化背景，重新探究「永明」的詩學史意義。永明體結合聲律理論與創作實踐，在當世即已立體成名，成為詩界革命的先聲。它的理論植基於深刻的語音自覺，跨越了語言與文學範疇，並主導了音韻知識體系的建構與發展。永明詩人從梵漢對照建立聲韻分解的審音原理，從轉讀諷誦體察語言自身的音樂性；進而由音韻的可分解性，領悟詩歌聲律的可操作性。他們定位「人聲」為音律之始，強調語言的根本地位；透過「內聽」使語音形式與情意心聲相連通，理想的聲律即是心聲的外顯，提倡由內在語音形式出發的聲律美學。在五言詩的實踐上，永明詩學形塑出講究句尾字之間、上二與下三之間，異音相從的「聲境」，從而開啟了後世詩歌的體式革新運動。

關鍵字

永明體；詩學；五言詩；聲境；聲律；四聲

並列摘要

This paper focuses on the birth of Yongming 永明 Style poetry in the Southern Qi 南齊 Dynasty, drawing on cultural background to re-examine its significance in the history of Chinese poetry. The Yongming Style heralded a revolution in poetry circles and is a model example of the birth of a new poetics. Yongming poetics is grounded in a profound awareness of the sound of the language that cuts across the boundaries of language and literature. Its prosody developed in step with traditional Chinese phonology, its leading figures guiding the construction of systems of phonological knowledge. By comparing Chinese and Sanskrit, Yongming poets established the principles for determining pronunciation by phonological segmentation, and by chanting and reading aloud, they made observations about the musicality of the language itself. The decomposability of phonology allowed them to grasp how to manipulate phonology in poetry, establishing verifiable rules. Poets repositioned the human voice as the starting point for the laws of phonology, emphasizing the fundamental place of language; through 'inner listening,' they made connections between spoken sounds and one's inner voice. They believed that the ideal tonal prosody would be the outward manifestation of the inner voice and so advocated an aesthetics of prosody that took the sound of the inner voice as its starting point. In practice, Yongming poetics shaped an aesthetic in the sound-environment of the thenpopular five-character line form that stressed the use of alliteration and rhyme, particularly between the last characters of each line and the first two and final three characters of a line. It sparked a significant, irresistible movement for innovation in form in later poetry.