李渔《闲情偶寄》中的戏曲声律论  

The Rhythmic Theory of Traditional Chinese Opera in Li Yu's Leisure Notes

作　　者：俞为民[1] Yu Weimin

机构地区：[1]温州大学

出　　处：《戏剧与影视评论》2023年第1期49-60,共12页Stage and Screen Reviews

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)的阶段性成果。

摘　　要：李渔在《闲情偶寄》之“词曲部”与“演习部”中把戏曲声律作为一个问题来加以论述。其论述十分具体,而且很有针对性。上声字是曲韵韵律中的一个难点,李渔不仅指出了上声在四声中的特殊性,而且提出了三条具体的使用方法:一是要视曲情而用;二是要间用,不可连用;三是南曲上声字可用以代平、去、入三声。对于“劫句”,即曲调中字声搭配不顺畅,但又不得不协律的句子,李渔提出作“劫句”变难成易的方法,也就是劫句上用成语、俗语、口头语填词。李渔对戏曲用韵中的一些容易失误或比较难处理的问题提出了“恪守词韵”“鱼模当分”“廉监宜避”“合韵易重”与“少填入韵”等一些具体要求和处理方法。这些要求和方法对剧作家们掌握玄渺深奥的音律问题有着很好的借鉴作用。Li Yu offers a concrete and specific discussion of the rhythmic theory of traditional Chinese opera in the sections"Lyrics and Music"and"Practice and Exercise"of Leisure Notes.He not only suggests the uniqueness of falling-rising tone,a point of difficulty in the opera music,among the four tones,but also proposes several specific usages,such as using it according to the plot in music,using it intermittently,rather than continuously,and using it to represent the other three tones in Southern drama music.To solve the problem of"awkward sentences",that is,sentences that have an unsmooth combination of sounds and words in the melody but must be used due to the need for rhyme,Li Yu proposes to use idioms,common sayings,or colloquial expressions to fill in the words.He also puts forward specific rules and solutions for some easy mistakes or difficult issues in the use of rhyme in opera music,such as"adhering to rhyme","separating the rhyme of Yu from the rhyme of Mu,""separating or avoiding the rhyme of Lian and the rhyme of Jian","avoiding the repetition of similar rhymes",and"using fewer entering tones in rhy-ming".His advice is of great value to playwrights who want to master occult issues in music theory.

关 键 词：李渔 《闲情偶寄》 戏曲声律 

分 类 号：I20[文学—中国文学]