越南阮輝𠐓《碩亭遺稿》詩餘作品探析

目前見於越南史籍記載的詩餘作品，大抵以《大越史記全書．黎紀》所記僧人吳匡越之作〈阮郎歸．祥光風好錦帆張〉為最早。故可以推測，越南詩餘的發展實與中國詩詞時間相當。詞之創作要求符合「詞牌」之體式、押韻，越南文人以漢文依曲牌填詞的過程中，其特色為何？同一詞牌在中國所記之體例，傳至越南後是否會有所改變？阮輝𠐓《碩亭遺稿》一書中，有「詩餘」一類收錄其九首漢詞作品，加之所撰《後神碑記》中存有一首《滿庭芳》，故本文以此十首作品為研究對象，針對以上問題進行探析。可以發現，阮輝𠐓的漢詞作品，如以各詞牌的體式而言，大體上符合格式，唯有部分作品韻腳平仄的要求上有所不同。透過阮輝𠐓的詩餘作品，或許可以推測各詞牌在流傳到越南後，基於語音或者用韻習慣，因地制宜所造成的改變，以及作為中國詩歌體例流傳至域外時的研究參考。

關鍵字

越南漢詞；阮輝𠐓；《碩亭遺稿》

並列摘要

Scholars generally agree that the earliest Han-cí (Han-style lyric poetry, or shīyú) in extant historical literature of Vietnam is Ngô Khuông Việt's "Tường quang, phong hảo, cẩm phàm trương." From this point of origin, we can assume that Vietnamese Hancí developed about the same time as its Chinese counterpart. The poetic composition of the cí genre required conformity to the musical sound tunes (cípai) in terms of line arrangement, rhythm, and rhyme. What were the unique features we can identify in the Hancí composed by Vietnamese literati that set them apart from their Chinese peers? Were there changes that we can find in those cípai that were clearly migrated from a Chinese to a Vietnamese context? Nguyễn Huy Oánh's « Thạc Đình di cảo» incorporated nine Hancí specimens, and we can add another from one of his epigrammic works. This paper focuses on these ten specimens and discuss them in light of the questions set out above. We find that Nguyễn Huy Oánh's Hancí conformed to the standards and norms, but there are different expressions in some of the rhyming schemes. From Nguyễn Huy Oánh's Hancí, we can assert that the different cípai underwent change due to different local phonetics and rhyming habits in their new operating environments. These can be used as examples for how Chinese poetics changed.