隐形的“声调谱”:王士禛七古声韵探微  

The“Tonal Score”Hidden in the Text:An Analysis of the Sound and Rhyme of Wang Shizhen’s Seven-character Poems

作　　者：黄金灿 Huang Jincan(Research Centre for Chinese Poetics,Anhui Normal University,Wuhu 241000,China)

机构地区：[1]安徽师范大学中国诗学研究中心,安徽芜湖241000

出　　处：《齐鲁师范学院学报》2024年第3期82-91,共10页Journal of Qilu Normal University

基　　金：安徽高校协同创新项目“中国经学诗学史”(项目编号:GXXT-2021-045)阶段性成果。

摘　　要：王渔洋作为清代古诗声调学的核心人物,却既无“声调论”专书,又未精心编制“声调谱”。考察渔洋在古体诗创作实践中对声调的组织安排,发掘其古体诗文本特别是七古文本背后隐藏的“声调谱”,有助于确证其在古诗声调学中的地位。三平调是渔洋七古最典型的句调格式,此外渔洋七古还综合运用多种句调格式,体现了极强的多样性。韵作为古诗声调的重要表达形式与古诗声调系统的关键要素,在渔洋七古中也得到巧妙运用。Wang Yuyang,as a central figure in the tonal theory of ancient poems in the Qing Dynasty,neither wrote a special book on tonality nor compiled an elaborate“tonal score”.Examining Yuyang’s organisation and arrangement of tones in his practice of composing ancient poems and discovering the hidden“tonal score”behind his ancient poetic texts,especially the seven-character texts,will help to confirm his position in the tonal science of ancient poems.Sanping tone is the most typical tonal format of Yuyang’s seven-character poems,and seven-character poems also comprehensively use a variety of tonal formats,reflecting a great diversity.Rhyme,as an important form of expression and a key element of the tonal system of ancient poems,is also skillfully used in seven-character poems of Wang Yuyang.

关 键 词：王士禛 古诗声调论 声调谱 七古 三平调 

分 类 号：I207.22[文学—中国文学]