清末民初讽喻联的“言文合一”趋向及意义  

Trend and Significance of“the Integration of Language and Writing”in the Allegorical Couplets in the Late Qing Dynasty and the Early Republic of China

作　　者：肖百容[1] 秦红玉 XIAO Bairong;QIN Hongyu(College of Liberal Arts,Hunan Normal University,Changsha 410081,China)

机构地区：[1]湖南师范大学文学院,湖南长沙410081

出　　处：《湖南工业大学学报（社会科学版）》2024年第2期104-112,共9页Journal of Hunan University of Technology(Social Science Edition)

基　　金：国家社会科学基金重点项目“近现代楹联创作语言与文体史料整理与研究”(17AZD030)。

摘　　要：清末民初的讽喻性楹联在中国古代讽喻传统的基础上,与白话运动相结合,在音韵、句式、技巧等方面出现不同程度的新变。平仄规则的自由化、句式词汇的白话化、修辞技巧的谐趣化,使得清末民初讽喻联在“形”与“神”双重层面契合了“言文合一”理念,成为“我手写我口”的实践性文体。清末民初讽喻联最直接且最真实地反应了民众的心声,作为强有力的“战斗武器”,于嬉笑怒骂之中,剖析黑暗惨痛之现实。The allegorical couplets in the late Qing Dynasty and the early Republic of China,based on the traditional Chinese allegorical tradition,combined with the vernacular movement,have undergone different degrees of new changes in phonology,sentence patterns,techniques and other aspects.The liberalization of tone and tone rules,the vernacular use of sentence patterns and vocabulary,and the humorous use of rhetorical techniques in the late Qing Dynasty and the early Republic of China have made the allegorical couplet conform to the concept of“the integration of language and writing”at the dual levels of“form”and“spirit”,becoming a practical style of“I write what I want to say”.The allegorical couplets of the late Qing Dynasty and the early Republic of China most directly and truly reflect the aspirations of the people,serving as a powerful“combat weapon”,in the midst of laughter and abuse,to analyze the dark and tragic reality.

关 键 词：清末民初 楹联 讽喻 “言文合一” 

分 类 号：I206.5[文学—中国文学]