近體詩律新說

A New Approach to the Recent Style Prosody

鄭再發(Tsai-Fa Cheng)

《聲韻論叢》 13期 (2004/04) Pp. 57-77

https://doi.org/10.29753/CP.200404.0003

摘要

近體詩向來指稱六期以後逐浙試驗成功的新體詩。漢魏流傳下來的舊體詩，因而叫做古體詩。兩者形制上頗有不同，格律上的差異最顯著。本篇短文提綱揭領討論近體詩的格律。一般研究唐期詩律，幾乎都認爲平仄是某種形式的節奏。本文第四、五節論證平仄不是漢語詩歌的節奏的來源。它是自然語言加工後的樂曲旋律。第六節把平仄律當樂曲分析，探討其平仄配置的製譜理論，歸結出一條公式。傳統的歌訣、拗教等種種，原不出這條公式的範圍。第七節論倒裝句。

關鍵字

近體詩 ； 格律 ； 節奏 ； 旋律 ； 歌謠

並列摘要

This is but an outline of a new approach to the Recent Style prosody. The tonal alternation of ping and ze in the typical prosodic pattern of the Recent Style is viewed in this approach not as a rhythmic metrics but as a melodic design similar to the alternation of pitch or length in a song. This view finds supports in the various ways of chanting and singing in Chinese oral tradition. All of the four possible combinations of ping and ze are regarded as regular formations of the musical loots, thus the old ao/jiu theory can be done without completely. A simple program is formulated to account for the typical Recent Style prosody of Tang poetry. In addition, it is demonstrated that the same program, when the value of its variables is reversed, is able to account for the Old Style prosody of the High Tang. It is hoped that this program and its variations can be used to trace the development of the Recent Style prosody of various periods.The theories of primacy of rhythm over syntax and saving the Recent Style prosody by reversing word order are rejected Some famous tines of the so-called reversed sentence are analyzed to show that they are well formed sentences. Reversed sentences must actually exist, but very likely not in the writings of a master poet.

並列關鍵字

Recent Style prosody ； tonal metrics ； rhythm ； melody ； folk song