李渔的曲韵观及其曲韵系统——兼与毛先舒《南曲正韵》比较  

Li Yu’s View of Qu-rhyme and Its Qu-rhyme System:Comparison with Mao Xianshu’s Nan Qu Zheng Yun

作　　者：杜玄图 DU Xuantu(School of Literature,Neijiang Normal College,Neijiang Sichuan 641199,China)

机构地区：[1]内江师范学院文学院,四川内江641199

出　　处：《湖南工业大学学报（社会科学版）》2022年第3期98-105,共8页Journal of Hunan University of Technology(Social Science Edition)

基　　金：教育部人文社会科学研究青年基金项目“清代词韵编订的时代特征与编韵理据研究”(18YJC751008);国家社会科学青年基金项目“清代词韵学与清代词学关系研究”(20CZW023)。

摘　　要：从舞台演唱的音律特性出发,李渔持恪守曲韵、韵律相协和用韵贵纯的南曲用韵观,其虽未编订专门的南曲韵专书,但构建了颇具特色的包含三个层次的曲韵系统。李渔的曲韵系统与同时代毛先舒的《南曲正韵》相比,二者都呈现出据腔论韵、综合南北韵的特点。两家的曲韵观既存在差别又相互融通;二者对前代曲韵观念都既有继承,又有发展,并非明代前后期南曲不同用韵观的简单延续。Starting from the musical characteristics of stage singing,Li Yu holds the view of rhyming which abides by the Qu-rhyme,coordinates between music and rhyme,and uses pure rhymes.Although Li Yu did not compile a special book on the rhyme of Nanqu,he still formed a distinctive three-level Qu-rhyme system.Li Yu’s system is similar to that of Mao Xianshu’s Nan Qu Zheng Yun,and both of them show the characteristics of rhythm based on melody and a combination of northern and southern rhythms.Their views on Qu-rhyme are different but interlinked.They inherit and develop the ideas of Qu-rhyme of the previous generation,which is not a simple continuation of the different views on the use of rhyme of Nanqu in the early and late Ming Dynasty.

关 键 词：李渔 曲韵观 曲韵系统 毛先舒 《南曲正韵》 

分 类 号：I207.23[文学—中国文学]