新诗用韵与现代韵书关系考察  

A Study of the Relationship between Rhyme and Modern Rhyme in the New Poetry

作　　者：宋峰[1] SONG Feng(School of Liberal Arts,Nanjing University,Nanjing 210023,China)

机构地区：[1]南京大学文学院,南京210093

出　　处：《常熟理工学院学报》2018年第4期13-19,75,共8页Journal of Changshu Institute of Technology

摘　　要：近百年来,中国新诗词用韵大致经历了"渐变""发展"和"开放"的三个时期;与此同时,现代韵书也相应从"摸索""定性"和"争执"中走来。从现代新诗用韵的实际情况来看,新诗创作者多数遵循"十三辙",但部分现代韵书作者却又在"梭坡""一七""中东"三韵部分合上长久争议不息。在推广汉语普通话的今天,应该充分地肯定"北京音系十三辙"的适用性,不要在韵部多寡上再作徘徊,以推动新诗创作更加繁荣。In the past century,the rhyme of Chinese new poetry has experienced three periods of“gradual change”,“development”and“openness”.At the same time,modern rhyme books have also undergone the changes of“groping”,“qualitativeness”and“dispute”.Based on the actual situation of rhymes used in modern poetry,most of the creators of the new poems are producing poems by abiding by“the Thirteen Ruts”,though some writers of modern rhyme books have long been controversial about Suopo,Yiqi and Zhongdong rhymes.In order to promote the development of Mandarin,we should fully affirm the applicability of“the Thirteen Ruts of Beijing Phonology”and do not linger on the number of rhymes so as to promote the prosperity of the creation of new poems.

关 键 词：新诗用韵 现代韵书 适用性 北京音系十三辙 

分 类 号：I207.21[文学—中国文学]