- 期刊
析論清領、日治時期臺灣文人填詞之若干問題
The Analysis and Study of Ci-filling by Literati in Taiwan under Qing Rule and Japanese Colonial Rule
摘要
本文係就清領、日治時期臺灣文人填詞之情況，自詞牌、詞韻、詞句三方面，予以歸納析論。就詞牌言之，本文發現臺灣文人填詞之際，除運用已然定調之通行詞牌外，若遇同調異名者，亦好用罕見之名稱，呈現趨新避俗之現象。且善取詞牌字面之意，緣調名賦情，頗有視詞牌為「詞題」之意。甚至較不在意其宮調屬性，而好自創新調名，以應景切情。就詞韻言之，本文發現臺灣文人，為求合於宋人用韻之實況，乃追隨清人整理詞韻之從寬派以填詞，如取第六部「真、文」韻、第十一部「庚、青」韻、第十三部「侵」韻，予以混押，即是其例。又好以作詩之習性填詞，爰恆以詞韻第3部、第5部、第10部互屬之韻字，予以混押；或將相鄰兩部之韻字，旁轉通押，如以第1部與第2部、第3部與第4部、第6部與第7部韻字通押，皆是其例。就詞句言之，本文發現臺灣文人填詞，係依賴以邠《填詞圖說》、康熙御製《詞譜》為準。然其造句常針對同一樂節內之詞句，予以彈性變化，此亦承自兩宋豪放派詞家之習性，以酬和寄意為主，不為娛賓遣興而作。
並列摘要
This study probes into the phenomena observed in ci-poetry filled by Taiwanese literati under Qing and Japanese Colonial rule from three perspectives, which are tune patterns (ci pai), rhymes, and sentences. From the perspective of tune patterns, this thesis discovers that when Taiwanese literati filled lyrics in ci, apart from using regular tune patterns with standardized tunes, uncommon ci pai names were also used for same tunes with different titles to create a refreshing atmosphere. They also properly borrowed the literal meaning from ci pai and expressed their feelings (qing) according to the tune names, as if treated them as the themes (ci ti) of ci. From the perspective of rhymes, this thesis discovers that in order to imitate the actuality of rhymes used by Song-ci composers, Taiwanese literati filled ci by referring to the flexible categorization of rhymes by Qing scholars. Taiwanese literati were also used to apply the rhyming rules of shi in ci-filling. From the perspective of ci sentences, this thesis discovers that Taiwanese literati filled lyrics in ci according to the rules elaborated in Tian Ci Tu Shuo (illustrations of ci-filling) by Lai Yi-Bin and Kangxi Emperor imperial commissioned Ci Pu (anthology of music scores in ci-poetry).Yet the sentences filled in a same section of ci were often more flexible. This kind of practice were inherited from the ＂bold and carefree＂ (hao fang) school of Song-ci composers.
參考文獻
延伸閱讀
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