柳永词的声律美  

The Beauty of rhythme in Liu Yong's Ci-poetry

作　　者：邱世友[1] 

机构地区：[1]中山大学中文系

出　　处：《文学遗产》2002年第4期65-74,共10页

摘　　要：本文论述柳永词词调仄声字三声中的去上、上去和去声字的用法 ,而重点在去上。指出《乐章集》去声多用于空际转身、转折跌宕 ,上去入三仄声字巧妙组合形成抑扬的节奏 ,增加了声律的和谐美 ,加强了意境的艺术性。苏轼、周邦彦的慢词新调多学柳永新格。The text discusses on the uses of oblique tones in Liu Yong's Ci-poetry and regards that he laid stress on the falling-rising tone rather than on the rising-falling and the falling tones. It makes it clear that Liu's The Collection of Musical Stanzas (《乐章集》) was full of the harmonious beauty of rhythme and elaborately rendered artistic prospects. Su Shi and Zhou Bangyan learnt much from Liu Yong's new styles of Ci-poetry when they composed somewhat long Ci-poetry in the form of new tonal patterns.

关 键 词：柳永词 声律 仄声 词调 慢词 周邦彦 文论 去声 转折 用法 

分 类 号：I207.23[文学—中国文学]