THE PRIMACY OF RHYTHM IN VERSE: A LINGUISTIC PERSPECTIVE

从语言学的观点看节奏在诗中的首要性

陈渊泉(Matthew Y. Chen)

《Journal of Chinese Linguistics》 8卷1期 (1980/01) Pp. 15-41

摘要

The primacy of poetic rhythm manifests itself in many ways. Metrically, it defines the 'weak' positions which allow a greater degree of freedom with regard to the 'tonal counterpoint' characteristic of 'regulated verse'. These positions are referred to in the traditional rule called 'yi san wu bu lun' (section 2). Phonologically, tone sandhi in verse recitation is sensitive to the rhythmic breaks of a line; a number of otherwise puzzling exceptional sandhi phenomena can be explained in terms of rhythmically induced 'tonic breaks' (sections 3 and 4). The major syntactic constituents coincide to a large extent with the rhythmic units such as feet and hemistichs (section 5). The tendency toward a metrico-syntactic match also explains certain anomalies in the poetic language such as word order reversal (section 6).

並列摘要

诗的节奏的首要性可以从多方靣找到证明。以诗律的声调而言轻拍字的分平仄比较自由。这就是传统所谓的「一三五不论」（见苐二节）。从语音上看来诗歌朗诵中的连续变调往往受到诗句中有节奏性的句逗的影响。许多本来费解的连续变调现象都可以看成为诗的节奏所產生的「调组」（苐三至四节）至于诗的语法，诗句中的主要词组通常和节奏单位－如「小节」和「半句」－相配合（苐五节）。一些诸如「倒装句」的反常现象也可以从诗律和语法一致的趋势找到合理的解释（苐六节）。