蜂腰、偷春二格形成史考论  

A Study of the Historical Formation of the“Fengyao”Pattern and the“Touchun”Pattern in Five-character Metrical Poetry

作　　者：张钊 Zhang Zhao(the School of Chinese Language and Literature,Beijing Normal University,District,Beijing 100875,China)

机构地区：[1]北京师范大学文学院,北京市100875

出　　处：《文艺理论研究》2024年第6期133-146,共14页Theoretical Studies in Literature and Art

摘　　要：宋代以来,诗家即称五律中首联对仗、颔联不对者为偷春格,只颈联对仗者为蜂腰格。这两种变格于沈、宋时始大量出现,在盛唐时一度与中间两联对偶的正格平分秋色,到大历时代才最终确立了其作为五律变格的地位。这种在近体中参用散句的趋势,与当时诗格中对偶理论的发展,是相互呼应的。从这一文学史进程中,可以见出唐人近体写作突破修辞主义文学观念下“递相祖述”的格局,汲取汉魏以来全部诗学资源,并回归抒情言志之本体的趋势;又能见出唐人在回归之后,重新注意近体本身体式特征的倾向。Since the Song dynasty,the touchun pattern has referred to the five-character metrical poetry in which the antithesis is used in the first couplet rather than the second;the fengyao pattern has referred to those in which the antithesis is only used in the third couplet.These two patterns began to flourish in the works of Shen Quanqi and Song Zhiwen.During the High Tang dynasty,they were equated in number with the standard format of metrical poetry.It was not until the Dali era that they were finally confirmed as variant formats of five-character metrical poetry.This trend of using free verse in metrical poetry corresponded with the development of antithesis theory.It showed that Tang poets,under the current of rhetoricism,broke out of the framework of dixiangzushu(continuation of the established disciplines and customs),drew on all the poetic resources since the Han and Wei dynasties,and returned to the essence of expressing emotions and aspirations.This was not only the key to the improvement of the quality of five-character metrical poetry,but also a cause of the later situation where five-character metrical poetry tended to be more ancient and elegant,while the seven-character metrical poetry tended to be more novel and popular.

关 键 词：蜂腰格 偷春格 五言近体 修辞主义 

分 类 号：I20[文学—中国文学]