四言诗演变的文体学考察  

A Stylistic Study of the Evolution of Four-character Poems

作　　者：易闻晓 

出　　处：《中国人民大学学报》2017年第4期146-154,共9页Journal of Renmin University of China

基　　金：国家社会科学基金一般项目"中国古代诗法理论的现代阐释"(12BZW013)

摘　　要：《诗》四言简质未舒,但以虚字衬贴、叠字形容、章句字词重复间破板质,而且分章合乐适于言志的歌咏。赋在一章具有整体性和结构性的作用,比兴则仅有暂时性和片段性的功能。《诗》四言与《书》四言散语实字并列及赋体四言散语一顺铺陈具有本质的区别,但汉代四言参合《诗·颂》和《书》语,愈显典重。汉末以降文人创制已非分章合乐,或自抒怀抱,或受五言、骈体影响,工于属对锻炼,及唐人四言都从拟乐府而来,终乖《诗》体本调。The four-character verses of the ＂The Book of Songs＂ are simple yet implicitly conveyed, lined with functional words, reduplicated describing words and phrases to break the pattern, in addition, chapters are in accordance with musical rhythm, making it suitable for expressing aspirations. Fu plays a holistic and structural role in the chapter , whereas Xing merely serves arbitrary, tempora- ry and fragmented function. The concrete word blending of the four-character verses in ＂The Book of Songs＂ and the four-character prose in ＂The Book of History＂ are essentially distinct from the elabora- tion of four-character Fu. But the four-character Han Fu, mixed with four-character of ＂Book of Songs, Hymns＂ and ＂The Book of History＂, carries more classic weight. Starting from the end of the Han dynasty, literary creations are no longer required to be in synchrony with misical rhythms, rather they are either self-expression of aspirations, or products influenced by five-character proses and parallel style. And all the four-character proses in the Tang dynasty have their origins in the simulation of Yuefu peotry.

关 键 词：《诗》四言 分章合乐 《书》与赋四言 乐府与骈语 

分 类 号：I207.22[文学—中国文学]