杜甫的“拗体七律”  

Tu Fu’s“Irregular Seven-word Verses”

作　　者： 张思茗(译) KATO Kuniyasu

机构地区：[1]日本名古屋大学 [2]复旦大学中国语言文学系,200433

出　　处：《杜甫研究学刊》2020年第3期81-91,共11页Journal of Du fu Studies

摘　　要：本文旨在探讨杜甫的“拗体七律”,并从韵律学的角度考察其意义。杜甫的近体诗中有相当多不规则的格律(拗体)。夔州时期之后,杜甫写下了许多拗体七律。本文具体分析了长安时期的《题省中院壁》、夔州时期的《白帝城最高楼》以及湖南时期的《暮归》《晓发公安》。可以看出,湖南时期的拗体风格与夔州不同——在单纯的悲叹之外,最终产生出一种巨大的开阔感。诗人无意修饰平仄,而是呈现出一种平静的内心状态,老练而出色地表现了“古拙”的技法。可以说,以这两首杰作为标志,“拗体七律”开创出了新天地。The purpose of this article is to take up Tu Fu’s original“Irregular Seven-word Verses”,and to examine its meaning from a viewpoint of rhythmics.There are considerable irregular verses in Tu Fu’s Chin-t’i shih.After K’ui Chou夔州period,Tu Fu wrote many irregular seven-word verses.This paper makes a detailed analysis of“题省中院壁”in Ch’ang An period,“白帝城最高楼”in K’ui Chou period and“暮归”“晓发公安”in Hu Nan period.As we can see,in his Hu Nan湖南period,Tu Fu’s irregular seven-word verses appear to use a different idiom from his K’ui Chou period’s works-eventually,there is marvelous feeling of vastness beyond mere lamentation.The poet does not care about the regulation of the p’ing and tse’s rules,and expresses a serene state of mind.This is an excellent technique of ku cho古拙by a skilled hand.At this juncture,it may safely be said that these two works bring the achievement which opened up the new world of the“Irregular Seven-word Verses.”

关 键 词：杜甫 拗体七律 韵律学 意境的新天地 

分 类 号：I207.22[文学—中国文学]