中国古代诗歌的内在结构  

The Internal Structure of Ancient Chinese Poetry

作　　者：孙绿江[1] 

机构地区：[1]甘肃教育学院中文系

出　　处：《兰州大学学报（社会科学版）》1997年第1期93-98,共6页Journal of Lanzhou University（Social Sciences）

摘　　要：中国古代诗歌最显著的特点之一是押韵，而且大都是隔句押韵，每押一次韵便意味着一个独立内容的获得。但在具有比兴传统的远古时代，纯粹的比兴诗句往往不能完整地说明一件事或抒一种情，而是必须配以下文的“所咏之辞”。因而在一般情况下，只有以四个诗句，即两个韵脚，才能构成一个独立的结构单位，并在诗歌的整体背景上被凸现出来。这种以前两句起兴，后两句抒情或叙事的作法，正是民间歌手惯用的模式，影响到诗歌，便是以四个诗句为一个独立的结构单位的形成。这种现象的成因是原始思维对语言的巨大影响以及原始初民在生活中缺乏秩序和稳定而要寻求整洁与对称的心理定势的作用。The most salient feature of classical Chinese poetry is rhyming, and in most cases, rhyming is present every other line with an independent entity of content. But in the remote past, when bi and xing techniques were prevalent as a strongtradition, poetry of such types invariably found themselves unable to fully expound an event or express emotions completely without getting compensation from the lines immediately following. Therefore, it was necessary for two rhymes to make an independent internal structure generally portrayed by the holistic background of the poem. This had resulted from the great influence of the primitive thinking upon language and the primitive psychological preconception of neatness and symmetry.

关 键 词：古代诗歌 结构 原始思维 民族传统 

分 类 号：I207.22[文学—中国文学]