陶渊明《归去来兮辞》押韵艺术探析——兼与苏轼、杨万里的次韵追和相比较  

An Analysis of the Art of Rhyming in TAO Yuanming's“Gui Qu Lai Xi Ci”——Compared with the Rhymes in the Ci Works of SU Shi and YANG Wanli

作　　者：黄金灿 HUANG Jincan(South China Normal University,Guangzhou 511400,China)

机构地区：[1]华南师范大学文学院,广东广州511400

出　　处：《天中学刊》2020年第4期90-100,共11页Journal of Tianzhong

摘　　要：陶渊明《归去来兮辞》体现了极高的押韵艺术,完美地达到了“韵随意转,天然凑泊”的艺术境界。苏轼与杨万里的次韵追和,虽步武陶韵却并未被其所限,而是成功实现了创新与突围,彰显了各自独特的艺术个性。陶辞、苏辞与杨辞虽然使用的韵字及其顺序几乎完全一样,但所表现的内容与表达的情感却构成了三种完全不同的范型:陶辞是名副其实的“归去来兮辞”;苏辞实际上是“归不得兮辞”;杨辞则是“不愿归兮辞”。苏辞、杨辞由于基本沿用陶辞的押韵结构,故将陶辞的押韵艺术展现得更为鲜活、立体。TAO Yuanming's“Gui Qu Lai Xi Ci”embodies the extremely high rhyming art.SU Shi and YANG Wanli,although following TAO rhymes styles,successfully achieve innovation and their unique artistic personalities.The rhymes in their works are almost exactly the same,but the contents and emotions are completely different paradigms.The three genius writers have created three different paradigms:TAO's enjoyable backing home,SU's unable backing home and YANG's unwilling backing home.SU and YANG take good advantages of TAO's rhyming art and make them more vivid and multi-dimensional.

关 键 词：陶渊明 苏轼 杨万里 和陶 《归去来兮辞》 次韵 

分 类 号：I206.2[文学—中国文学]