古代汉语诗歌节奏论及现代启示——兼论“平仄”律对于汉诗节奏的“依附”性  

A Discussion on the Rhythm of Ancient Chinese Poetry and Its Modern Enlightenment: Concurrently on the “Dependence” of “the Tonal Pattern”on the Rhythm of Chinese Poetry

作　　者：张中宇[1] 胡君 ZHANG Zhongyu;HU Jun(College of Liberal Arts,Chongqing Normal University,Chongqing401331,China)

机构地区：[1]重庆师范大学文学院,重庆401331

出　　处：《常熟理工学院学报》2021年第1期1-6,共6页Journal of Changshu Institute of Technology

摘　　要：《尚书》《乐记》等不少文献载有中国早期的“节奏”论,虽然其所指并不完全一致,但一般都认为节奏具有规范、整齐等作用。从诗、骚两大源头来看,中国古典诗歌对节奏具有高度自觉,其深层原因在于汉语的诗美特性和诗人的追求:有节奏的语言为“乐音”,对于传递信息、表达感情等更为有利。“平仄”律是依据汉语诗歌节奏特性设计的,因而并非独立的审美元素,它的根本功能在于改进并提升汉语诗歌的节奏水平。汉语诗歌节奏经过平仄律的“升级”,变得更加柔和且富于起伏变化。“平仄”律推动唐宋诗词的节奏水平达到了无与伦比的高度,也推动了中国古典诗歌的鼎峰繁荣。Many documents,such as Shang Shu and Yue Ji,contained the theory of“rhythm”in the early China.Although the references are not completely consistent,it is generally believed that rhythm has the functions of regulating and tidying.From the two sources of Chinese poetry,the Book of Songs and Li Sao,we can see that Chinese classical poetry was highly conscious of the artistic creation of rhythm.The underlying reason lay in the beauty of Chinese poetry and the poets’pursuit:the rhythmic language was“musical sound”,which was more favorable for transmitting information and expressing feelings.The tonal pattern was designed according to the rhythm characteristics of Chinese poetry,so it was not an independent aesthetic element.Its fundamental function or value was to improve and enhance the rhythm level of Chinese poetry.The rhythm of Chinese poetry became more gentle and filled with ups and downs after the“upgrading”of the tonal pattern.“The tonal pattern”promoted not only the rhythm level of Tang poetry and Song Ci to an unparalleled height,but also the prosperity of Chinese classical poetry.

关 键 词：汉语诗歌 节奏论 乐音 “平仄”律 

分 类 号：I207.25[文学—中国文学]