從四聲遞用法檢視陳肇興七律與杜詩之關係

Investigation on the Relationship between Chen Chao-Hsing's Seven-character Octave and Poetry of Du Fu from the Perspective of Alternation of Four Tones

王雅儀

《東海大學圖書館館刊》 65期 (2022/09) Pp. 1-32

摘要

陳肇興（1831－1866？），為咸同年間詩人，在臺灣文學史上素有「小杜甫」之稱，後人亦多謂其詩作胎習於杜甫（712－770）。作品《陶村詩稿》記錄了戴潮春事件的相關經歷，承繼杜詩「詩史」的特質。然而，杜詩的另一個特色，即是「律切精深」，杜甫對於詩歌體裁與形式，要求嚴謹且細密，陳肇興之學杜，是否也包含了杜甫在格律上的考究呢？本文以四聲遞用法，檢視陳肇興176首七律，觀察陳肇興在七律出句句腳，與單句之中四聲的運用，是否也同杜詩一般，刻意避免重複，輪流使用平上去入四聲。所得數據為，陳肇興七律有超過半數均避開上尾，在出句句腳輪流變換四聲聲調；其四聲遞用的比例，雖不如杜甫等盛唐詩人之高，但卻高過宋代詩人，可推測陳肇興之為詩，也留意四聲遞用的技法。

關鍵字

四聲遞用 ； 上尾 ； 格律 ； 學杜 ； 陳肇興

並列摘要

Chen Chao-Hsing (1831-1866?), a poet who was active during the period of Xian-Tong, is known as ＂Little Du Fu＂ in the history of Taiwanese literature. Later generations believe that his poems were inspired by Du Fu (712-770). His work Poems of Tao Village records the experiences associated with the Dai Cao-Chun Rebellion event and inherits the characteristics of the ＂poetry of history＂ poetry of Du Fu. However, another characteristic of the poetry of Du Fu is the ＂profound prosody and explicit meaning.＂ Du Fu required strictness and meticulousness in the style and form of poetry. Does Chen Chao-Hsing's imitation of Du Fu also include Du Fu's strictness for prosody? This study intends to investigate the 176 seven-character octaves created by Chen Chao-Hsin from the perspective of alternation of four tones to observe whether Chen Chao-Hsing's use of line-ending words in the seven-character octaves is the same as the poetry of Du Fu, which deliberately avoids repetition and uses the four tones in turn: level tone, falling-rising tone, falling tone, and entering tone. According to the data collected, more than half of Chen Chao-Hsing's seven-character octaves avoid repetition of line-ending words and alternate the four tones at the end of sentences. His ratio of the alternation of four tones is not as high as that of the poets of the prosperous Tang Dynasty such as Du Fu but is higher than that of the poets of the Song Dynasty. Therefore, this study concludes that the poetry style of Chen Chao-Hsing also pays attention to the skill of alternation of four tones.

並列關鍵字

alternation of four tones ； repetition of line-ending words ； prosody ； imitation of Du Fu ； Chen Chao-Hsing