曹操曹丕诗歌用韵比较  

Comparisons of Rhyme in Poetries by Cao Cao and Cao Pi

作　　者：孙娟[1] 

机构地区：[1]南京晓庄学院人文学院,江苏南京211171

出　　处：《襄樊学院学报》2011年第12期9-12,共4页Journal of Xiangfan University

基　　金：江苏省教育厅项目(09SJD750020);南京晓庄学院青年专项(2009NXY17)

摘　　要：曹操和曹丕的诗在用韵上十分讲究,为诗歌的风骨增添了内在的律动。整体上说二人诗歌都用上古韵,韵律注重情志、色彩、节奏的协调。曹操诗歌保持传统,以言志为特色,因此以《诗经》以来的韵式为主,偶句押韵有六首,叠韵较多,气深笔长。曹丕的诗歌在艺术上更重创新,进一步适用确认了五言诗的押韵模式,注意整合当时的韵式和体格,形成规范,以清丽为艺术追求和书写方式,二十三首诗都采用隔句押韵方式。他还创造了一种结句转韵的新形式。曹丕诗歌的用韵为诗歌的大小韵理论的产生奠定了实践基础。Both Cao Cao and Cao Pi paid great attention to rhyme in their poems. Generally speaking, both of them used ancient metres, and focused more on the harmony among emotion, color, rhythem and metre. Cao cao＇ s creations are featured by expressing his ambition, inheriting modes of metres since The Book Of Poetry, which the balanced sentences＇ rhythming are only six of them, with relatively more rhyme and stronger emotion. Whereas, Cao pi＇ s creations further confirmed modes of rhythming in the five words poetry, and paid attention the modes of metre and Constitution at that time, which formed the regulations and patterns of writing in pursuit of art, with 23 poems adopting rhythming among separating sentences. He also created a new mode of changing the rhythming. Cao Pi laid a practical foundation in the theories of rhythming in his poems.

关 键 词：曹操 曹丕 诗歌用韵 

分 类 号：I207.21[文学—中国文学]