“丁卯句法”的诗律内涵和格律史意义——兼对前人“丁卯句法”几个认识的澄清  

On the Poetic Connotation and Historical Significance of“Dingmao Syntax”——A Clarification of Predecessors’Understandings of“Dingmao Syntax”

作　　者：谢可欣 XIE Ke-xin

机构地区：[1]北京大学中文系,100871

出　　处：《杜甫研究学刊》2021年第2期67-78,共12页Journal of Du fu Studies

摘　　要：当今学界对于“丁卯句法”内涵与诗律效果的认识多有模糊与分歧。从笔者梳理看来,在理论层面,出对句间的平仄相反更为唐代及之前诸声律说所强调,并在初唐构成了系统;在创作层面,“丁卯句法”在许浑以前即有散例,但一是许浑七律创作基数大、第五字用拗较多,二是许浑创作格律谨严,“仄平仄”“平仄平”均整齐相配,从而凸显出了作为“丁卯句法”的典型意义。后人因此认为它是近体诗律的精进圆熟,并以之与杜甫拗格相较。对其褒贬成为介入宋元诗学的一个线索与视角。There are many vague and divergent understandings of the connotation and poetic effects of“Dingmao Syntax”in today’s academic circles.This paper believes that,at the theoretical level,the contrast between level and oblique tones of couplets is more emphasized by rhythmic principles in the Tang Dynasty and previous dynasties,and became a system in the early Tang Dynasty;at the creative level,there appeared some“Dingmao Syntax”before Xu Hun’s works of seven-character regulated verses.Xu’s seven-character regulated verses are large in number and usually have the fifth character as the deviation from the norm.Moreover,Xu Hun’s seven-character regulated verses are quite strict in rhyme in which level and oblique tones are neatly matched,thus highlighting the role of“Dingmao Syntax”.Later generations believed that it was the perfection of modern regulated verses,and can be compared with Du Fu's regulated verses.The praise and criticism of it became a clue and perspective to look into the poetics of the Song and Yuan Dynasties.

关 键 词：许浑 “丁卯句法” 近体诗格律 

分 类 号：I207.22[文学—中国文学]