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作 者:王立增 WANG Lizeng(School of Chinese Language and Literature,Jiangsu Normal University,Xuzhou,Jiangsu 221116,China)
出 处:《河北师范大学学报(哲学社会科学版)》2024年第3期68-77,共10页Journal of Hebei Normal University(Philosophy and Social Sciences)
基 金:国家社会科学基金一般项目“乐府诗采辑、编选与乐府诗史建构研究”(项目编号:19BZW038)。
摘 要:“可歌”“可诵”作为诗歌评价标准,根植于我国古老的乐文化传统。先秦时期,“古诗皆咏之”,故“可歌”“可诵”是诗歌的天然属性与“元本质”。后来,诗歌进入书面传播阶段,在“采入乐府”的刺激下,通过唐诗的音乐传播实践,“可歌”“可诵”逐渐成为诗歌评价标准。“可歌”“可诵”的作品,在题材意旨方面大多是“歌颂功德”,或反映社会上值得颂扬的事迹,或立意深远,耐人寻味;从文体形式来看,多是歌行、律诗、绝句和骚体,语言平淡,讲究转承,富有“清丽”“清新”“澹雅”之美。以“可歌”“可诵”为评价标准,将诗歌批评还原为动态过程,重视的是诗歌的口头性与流畅性、传播广度与接受程度。这一批评话语后来溢进词、曲,使得案头词、曲仍以“可歌”“可诵”为追求目标。The criterion of“singability”and“recitability”in poetry evaluation finds its roots in China’s ancient musical culture tradition.In the pre-Qin period(prior to 221 BC),it was said that“all ancient poems were sung.”Thus,being“singable”and“recitable”became the inherent attributes and the“meta-essence”of poetry.As poetry transitioned to a medium of written communication,the practice of being“collected into Yuefu(music conservatory)”during the Tang dynasty stimulated the emergence of“singabilility"and“recitability”as evaluation standards for poetry.Thematically,works deemed“singable”and“recitable”often exalted rulers’virtues and achievements,depicted commendable social deeds,or presented thought-provoking ideas of profound significance.Stylistically,they typically took forms such as Gexing(chanting poetry),Lvshi(metrical poetry),Jueju(quatrains),and Saoti(poetry in the style of Lisao),characterized by plain language,graceful transitions,and a fresh yet subtly elegant style.By using“singability”and“recitability”as evaluation criteria,poetry criticism evolved into a dynamic process focusing on sound quality,orality,phonemic fluency,and the dissemination and reception of poetry.This critical discourse later extended to Ci and Qu poetry,wherein written forms aimed to achieve“singability”and“recitability.”
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