元明散曲“对式”论的演变特征  

Evolution Characteristics of SanQu DuiZhang Form in Yuan and Ming Dynasty

作　　者：闵永军[1] 

机构地区：[1]黄淮学院中文系,河南驻马店463000

出　　处：《河北联合大学学报（社会科学版）》2012年第2期168-170,共3页Journal of Hebei Polytechnic University:Social Science Edition

摘　　要：元散曲的对仗无论从对仗在曲中的位置上,还是对式的花样上都翻新出奇、大胆创新。在这个意义上,对仗与散曲之尖新泼辣的基本文学精神可谓一脉相承。较早关于散曲对仗的总结是周德清的《中原音韵》,而成书于明初的《太和正音谱》,在此基础上更提出了七种对式名目,有合璧对、连璧对、鼎足对、燕逐飞花对等,分别给这些对仗形式冠以美好的名字。而后曲学领域关于散曲对仗的研究,都受到它的启发,又有所补充。DuiZhang in Yuan Dynasty SanQu is fresh and strange,between the position of DuiZhang on Qu and DuiZhang style.In this,DuiZhang is new and shrewish same to the essential literature spirit of SanQu.Original it is summary on SanQu DuiZhang in Zhou DeQ-ing’s ZhongYuanYinYun.On that basis,TaiHeZhengYinPu in the early Ming Dynasty concludes that SanQu DuiZhang form have seven types,as HeBiDui,LianBiDui,DingZuDui,etc,and named beautiful words.then,research on SanQu DuiZhang always follows it,and enrichs it.

关 键 词：散曲 对式 《中原音韵》 《太和正音谱》 《曲律》 

分 类 号：I207.24[文学—中国文学]