试论魏晋诗赋创作的韵式探索  

A Probe into the Rhyming Scheme of Poems and Rhapsodies in Wei and Jin Dynasties

作　　者：刘志伟[1] 丁宏武[1] 

机构地区：[1]西北师范大学文学院,甘肃730070

出　　处：《上海大学学报（社会科学版）》2006年第6期52-57,共6页Journal of Shanghai University(Social Sciences Edition)

摘　　要：魏晋时期,汉语语音由上古音向《切韵》音的转折,对诗文创作追求“同声相应”、“异音相从”的声韵效果,创造了更为便利的条件。曹植等开风气于先,陆机、潘岳等继之于后,魏晋作家在诗、赋用韵方式上多有探索,不但重视诗、赋用韵表情达意的文体功能同异,也重视诗、赋用韵与文体结构的关系。这种有益探索,深刻影响了齐永明年间沈约、周颙等人倡“四声八病”之说,提出“声律说”,使律化成为诗、赋创作的必由之路。In the Wei and Jin dynasties, Chinese pronunciation turned to the sounds of Qie Yun from the sounds of antiquity, producing more convenient conditions for writing of poems and prose characteristic of ＂same tones corresponding＂ and ＂different tones matching＂. It is Cao Zhi, etc, who set a precedent and Lu Ji, Pan Yue, etc, who followed them. They made many probes into the rhyming scheme of poems and rhapsodies, not only attaching importance to the sameness and difference of style functions when using the rhyming of poems and rhapsodies to express feelings and meanings, but also emphasizing the relationship between the rhyming of poems and rhapsodies and the style structure. All this gave a deep influence on Shen Yue, Zhou yong, etc, who put forward the theory of ＂four tones and eight faults＂ and ＂tone regulation＂, thus rhyming schemes becoming the necessity to write poems and rhapsodies.

关 键 词：魏晋 诗赋 韵式 功能 结构 

分 类 号：I206.2[文学—中国文学]