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作 者:叶天山[1] Ye Tianshan(College of Chinese Language and Literature,Luoyang Normal University,Luoyang 471934,China)
出 处:《洛阳师范学院学报》2024年第7期44-46,共3页Journal of Luoyang Normal University
摘 要:壶隐居本及通行本《南词叙录》中的“大歇占尾”中,“占”是“帖”的省文,“帖”“贴”音近通用;“尾”乃是“套”的形讹。散曲中的“歇帖”,指押e韵且常用入声韵的作品。歇帖有大有小,大致以歇帖韵脚数量为界,50字以上者为大歇帖,否则属于小歇帖。《群音类选》明确有大、小歇帖之分;“箫声唤起”散套属于大歇帖套。就韵目而言,明人用“歇帖”而不用“车遮”,有其声调和历史缘由方面的考虑。“Zhan”presents an omitted expression of“Tie” in Hu Yinju’s version and the popular version of A Descriptive Catalogue of the Southern Opera,the two“Tie”characters are in reciprocal use because of their similar pronunciation,and“Wei”just presents the wrong form of“Tao”.“Xietie”in Sanqu refers to the works with e rhyme in the entering tone.The size of“Xietie”is roughly classified by the number of rhymes of fifty,and The Selected Group Opera Tunes identified the division between big and small“Xietie”.In terms of rhyme,people in the Ming Dynasty used“Xietie”but not“Chezhe”,for they gave consideration to the tones and historical reasons.
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