汤显祖“临川四梦”用韵研究  

Study on Rhymes of Tang Xianzu’s Four Dreams of Linchuan

作　　者：俞为民[1] YU Wei-min(School of Humanities,Wenzhou University,Wenzhou,Zhejiang 325035)

机构地区：[1]温州大学人文学院,浙江温州325035

出　　处：《艺术百家》2022年第1期90-100,共11页Hundred Schools In Arts

基　　金：2019年度国家社科基金冷门绝学和国别史研究专项“曲韵研究”(项目编号:19VJX148)阶段性成果之一。

摘　　要：前人只肯定汤显祖“四梦”的曲意,而批评其不合曲律,其中也包括对“四梦”曲韵的批评,认为其囿于方言而失韵。其实在“四梦”的1315支曲调中,不仅不通押的曲调占了绝大多数,而且,在通押的116支曲调中,虽有部分看似失韵,但多为“借韵”,是一种变通的用韵方法,其实不算失韵。“四梦”的用韵与其曲意协调一致,能根据剧作的故事情节、人物、时空的变化来选用和改换曲韵。Former scholars only affirmed the content of Tang Xianzu’s Four Dreams,but criticized them as not conforming to the standard of drama.Rhyme is an important part of drama standard,and Four Dreams is often criticized for being limited to dialect and losing rhyme.In fact,in the 1315 tunes of Four Dreams,not only the tunes not end with mutual rhyming words account for the vast majority,but also their rhyme words involve the nineteen rhymes from Rhymes of The Central Plains.In the 116 tunes end with mutual rhyming words,although some of them are lost rhyme,most of them are"borrowed rhyme",which is a flexible way to use rhyme,and cannot be counted as lost rhyme.The rhyme of Four Dreams is in harmony with the meaning of the song,and the rhyme can be selected and changed according to the of the plot,characters,time and space.

关 键 词：汤显祖 “四梦” 曲韵 中州韵 借韵 

分 类 号：J80[艺术—戏剧戏曲]