韻律在新詩中的示意作用

The Function of Rhythm as Connotation in Modern

鄭慧如(Hui-Ju Cheng)

《Asian Journal of Management and Humanity Sciences》 1卷2期 (2006/07) Pp. 263-278

https://doi.org/10.6413/AJMHS.200607.0263

摘要

本文以台灣新詩為例，討論韻律的示意作用，亦即韻律如何藉由文字，表現詩作內在的意涵。特別標出韻律，目的在別於音樂性，避免音樂名詞套用到文學作品上可能產生的扞格；而特別標出示意作用，乃為了別於意義或意思，避免單就主題詮釋詩作。本文之問題意識植根於中國古典詩話「聲情相生」的傳統，討論因情發聲、自然妥貼而與聲律平仄融為一體的新詩，並以詩作的句法及語氣，做為判斷和分析的主要依據，就詩作的聲音表情，分為四個小節討論：其一，口舌與情緒的餘音；其二，以自我為主體的語勢展現；其三，禱辭式的流動韻律；其四，沈思者的心象迭代。

關鍵字

韻律 ； 示意 ； 語勢 ； 禱辭

並列摘要

In this study the rhythm used in modern poetry of Taiwan is discussed as examples to explore the internal meaning of poetry. Rhythm here is distinguished from musicality, and therefore prevents the musical terminology from intruding into the literary field. Connotation as its transformed meaning from the context also differs itself from the thematic meanings as usually practiced in poetic interpretations. The basic concern of this paper is sourced from the ”the interplay of sound and emotion” in the tradition of classical Chinese poetry. The interpretation is based on the sentence structures and its implicit tones to depict the ”expressions of the sound.” The paper includes four sections: the residual voice of tongue and emotion, the presentation of self as subjectivity, the flow rhythm of praying style, and the mental images of meditative speakers.

並列關鍵字

rhythm ； connotation ； tone ； pray