清词“四声论”的生成发展及其词学史意义  

The Formation and Development of the“Four-tone Theory”of Ci in Qing Dynasty and Its Significance in the History of Ci

作　　者：闫赵玉 郑易焜 YAN Zhaoyu;ZHENG Yikun(School of Humanities,Xi’an Conservatory of Music,Xi’an 710061,Shaanxi;School of Literature,Xi’an University of Architecture and Technology,Xi’an 710055,Shaanxi)

机构地区：[1]西安音乐学院人文学院,陕西西安710061 [2]西安建筑科技大学文学院,陕西西安710055

出　　处：《陕西理工大学学报（社会科学版）》2024年第5期34-40,共7页Journal of Shaanxi University of Technology(Social Science)

基　　金：教育部人文社科研究西部和边疆地区青年项目(23XJCZH002);西安音乐学院2023年校级科研基金项目(XYKY2023YB11)。

摘　　要：清代词学中兴,词人特重音律,在词之创作上,万树首倡“四声论”,乾嘉以后词人,以蒋春霖和晚清四大家为代表,在填词中重视四声字;在词的校勘中,出现了以四声校词的校勘方法,推动了词律研究与词学文献整理;随着词律研究的深入,凌廷堪、谢元淮等学者尝试重构词乐,江顺诒治词重宫调、审音,并对万树“四声论”进行了批评。概言之,“四声论”的构建,推动了清代词律学体系的完善与词学的独立发展。In the Qing Dynasty,the study of Ci poetry flourished,and poets placed great emphasis on sound and rhythm.In the creation of Ci poetry,Wan Shu firstly advocated the“Four Tones Theory”.After the Qianlong and Jiaqing periods,poets,represented by Jiang Chunlin and the Four Great Masters of the late Qing Dynasty,placed great emphasis on four tone characters in their writing.In the collation of Ci,the method of using four tones to proofread Ci had emerged,which promoted the study of Ci rhythm and the compilation of Ci literature.With the deepening of the study of Ci rhythm,scholars such as Ling Tingkan and Xie Yuanhuai attempted to reconstruct Ci music,while Jiang Shunyi emphasized palace tone and phonetic examination in Ci,and criticized Wan Shu’s“Four Tones Theory”.In summary,the construction of the“Four Tones Theory”promoted the improvement of the Qing Dynasty’s poetic system and the independent development of Ci studies.

关 键 词：清词 四声论 词学史 

分 类 号：I207.23[文学—中国文学]