陈子昂近体诗格律论析  

The Rhythmical Analysis of CHEN Zi-ang's Metrical Verses

作　　者：刘全发[1] 

机构地区：[1]南通大学文学院,江苏南通226019

出　　处：《集宁师范学院学报》2013年第3期11-15,20,共6页Journal of Jining Normal University

摘　　要：陈子昂127首诗歌中近体诗有53首,学者评论有褒有贬,尤在格律上存在分歧。作者对陈子昂近体诗歌的格律进行了详尽的统计,发现其57%的句式是完全符合今人总结的唐律句式,93%的诗歌采用了粘式律,其中不乏格律谨严尤为古代诗评家推重之作。但也有一些不合"正规"之处。进一步详考之下作者认为造成失范的原因有三个:第一,很多被视为违拗的句式其实可以当做"变式",在唐人的诗作中多能找到应用;第二,陈子昂后期的复古思想是其主要诗歌旨趣,使得他在作诗时不拘泥于近体的种种限制;第三,写作空间的限制从客观上造成了诗歌格律上的疏于苛求。There is a sum of 127 poems by CHEN Zi-ang, among which 53 poems belong to a kind of metrical verses, with much divergence in scholars＇ favor or disfavor in terms of rhythm. By making a careful statistical study of the pingze forms（i.e., level and oblique tones）, on one hand, we reach the con- clusion that 57% of all his poems completely comply with the metrical laws summarized by the people of the Tang Dynasty while 93% of his poems adopted the Nian law, among which there are quite a few verses deserving ancient poetic critics＇ high praise because of their rigid poetic meter. On the other hand, it is found that there are also some ＂irregularities＂, for which we think that there are three following probable reasons. The first reason is that some poetic lines once considered to be irregular in syntax, now actually act as ＂varieties＇and can be found in the verses of the poets in the Tang Dynasty. Secondly, CHEN Zi-ang tended not to be confined to the limitations of metrical verses in his later creation because his main poetic interest lay in his back-to-ancients ideology. Thirdly, CHEN Zi-ang＇s limited dimensions of creation shaped his lack of a rigid control in meter.

关 键 词：陈子昂 近体诗 格律 

分 类 号：I222.7[文学—中国文学]