從摹寫聲音三至文綜觀唐人摹擬聲情手法之沿襲與創新

Using Three Outstanding Musical Poems to Reveal the Inherited and Creative Techniques for the sound descriptions by Tang Poets

孫貴珠(Kuei-Chu Sun)

《大同大學通識教育年報》 8期 (2012/07) Pp. 25-46

https://doi.org/10.6514/TJGE.201207_(8).0002

摘要

眾所周知：唐代係中國古典詩歌與音樂相互影響、共同發展之時期。尤其是唐代詩人筆下描寫各類音樂表演之詩，不僅為唐詩之創作注入奇思幻想，亦對後世音樂詩之寫作產生深遠影響，且盛傳不衰。清人方扶南即云：「白香山『江上琵琶』，韓退之『穎師琴』，李長吉『李憑箜篌』，皆摹寫聲音至文。韓足以驚天，李足以泣鬼，白足以移人。」這段話一方面言簡意賅地道出白居易、韓愈、李賀三人，化聲情為文字之精湛技法；一方面也暗示著演奏者絕妙動人之表演技藝。儘管唐代詩人曾經寫下將近六百首之音樂詩，但上述三詩所受到之關注，絕非其他同時代詩作可以比擬。而近人研究唐代音樂詩，亦多著眼於此三詩之比較，特別是對詩人描寫音樂聲情之手法，如比喻、擬聲等修辭技巧之運用。實際上，這三首詩於詩人之妙筆與想像下，所呈現個別樂器之聲響特質、樂曲旋律之起伏變化、演奏者之精湛技藝等，可謂係近六百首唐代音樂詩中，極為難得之作。更有趣的是，透過分析與比對，可以微妙地發現：「以聲喻樂」、「以形喻樂」、「以典喻樂」，幾可視為唐代音樂詩摹寫聲情最重要之三種手法，而白、韓、李三人最大之成就在於借鑒前人而又別開生面地巧妙譬喻，並擴大了音樂詩之描寫內容，以及音樂主題之呈現。是故，本文擬從此三詩之文本出發，自詩人之寫作筆觸，繫聯唐代音樂詩之發展歷程，再分就「以聲喻樂」、「以形喻樂」、「以典喻樂」三面向，細繹方扶南所謂唐代摹寫聲音三至文，摹擬聲情手法之沿襲與創新。

關鍵字

琵琶行 ； 聽穎師彈琴 ； 李憑箜篌引 ； 唐詩 ； 音樂詩

並列摘要

Tang Dynasty is well known as a fruitful period for Chinese poetry, especially, the interaction between music and poetry was mutually and significantly recognized. The magnificent descriptions of musical performances by Tang poets, such as the three most representative poems suggested by the Qing poet Fang Fu Nan: ＂Pipaxing＂ by Bai Ju-Yi, the ＂Yin Shi Chin＂ by Han Yu, and the ＂Li Pin Kong Ho＂ by Lee Ho, had shown their great influences to later works. Their contributions were specifically in two ways: the precise methods to express sounds into words and implicitly shown the extraordinary techniques of the performers. Although over six hundred musical poets were produced by Tang poets, the above three poets were the most mentioned. Previous research of Tang musical poems focused on the methods and descriptions, special effects from specific instruments, the changes of melodies, and the techniques of performers, these three poems were the most outstanding examples. They expanded the contents of musical poems and the expression of musical themes. As a result, this research focused on these three poems, examining the methods of writing techniques, rechecking the connections among the musical poems of Tang Dynasty. Moreover, inspecting the techniques used for describing sounds, the use of metaphors for music and the use of literary allusions.

並列關鍵字

Pipaxing ； Yin Shi Chin. Li Pin Kong Ho ； Tang Poetry ； Musical Poems