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題 名 | 李世民五律聲律研究=A Study of Li Shih-Ming's Five Syllable Poem (Ching-Ti Shih) |
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作 者 | 許清雲; | 書刊名 | 東吳中文學報 |
卷 期 | 5 1999.05[民88.05] |
頁 次 | 頁27-83 |
分類號 | 851.441 |
關鍵詞 | 李世民; 近體詩; 五律; 聲律; 平仄; 黏對; 四聲遞用; Li Shih-ming; Tang dynasty's poem; Ching-ti Shih; Five syllable poem; Rhymes and tones; Level and oblique tones by turns in a sentence; Level and oblique tones by turns in a poem; Eight lines; Phenomenon of using the four tones by turns in one line or one poem; The level tone; Falling-rising tone; Falling tone; Entering tone; |
語 文 | 中文(Chinese) |
中文摘要 | 李世民太宗皇帝文治武功,固一代之雄也,前人多有美評。然李世民詩,歷來撰文學史、文學批評史學者既未作論述,選集、鑑賞唐詩之專家亦未曾作介紹,其素不為人所重視,應是事實。筆者披閱唐人詩篇,發現李世民作品,頗值得表彰。尤其展現在聲律上,音節和諧,律呂鏗鏘。所作雖未能全部合於今人律調觀念之要求,然其作品確能鉤勒出唐詩律化之軌跡,作為近體詩在初唐前期創構成型歷程中,應是最為具體且相當有用之資料。本文限於字數,單從聲律問題上探討句中平仄、通篇黏對與四聲遞用現象。於作品統計歸納後,發現李世民五律已更貼近唐人「律體」觀念。其詩句中平仄合律者,比率高達97﹪;通篇黏對比率雖不高,但單計相對或相黏者,符合比率仍不低;四聲遞用現象,出現頻率相當高。換言之,李世民五律作品與初唐詩學理論,關係至為密切,此正是唐人近體詩建構過程之展演。是以太宗皇帝不但留下傲人之創作成就,更為日後詩學研究者開拓出論述空間,頗值得研究。 |
英文摘要 | Li Shih-Ming, the second emperor of Tang dynasty, was considered one of the greatest political and military talents in Chinese history. But his poetic works were not discussed at all by literary history or literary criticism history. Poetic anthologies have never selected his poems. It is a well-known fact that his literary achievements were not paid too much attention by researchers. Perusing the poems of Tang dynasty, the author found that the Li's poems were really praiseworthy. Because his poems are very harmonious in rhymes and tones. Though all of his poetic works do not conform to modern conception concerning Tang dynasty's poetic rules, yet his poems can certainly show the evolving course of Tang dynasty's poems. Li's works are very helpful for researchers who want to study the step by step evolution of a newly developed poetic format (Ching-Ti Shih) in early Tang dynasty. This paper, restrained by word limit, could only examine the level and oblique tones by turns in a poetic line; and among the eight lines; and the phenomenon of using the four tones (the level tone, falling-rising tone, falling tone, and entering tone) by turns of Li's works. After statistical analysis, the author found that the format of Li's poems were quite close to the concept of the newly developed poetic format (Ching-Ti Shih) in early Tang dynasty. Ninety-seven percent (97%) of the level and oblique tones by turns in a poetic line of Li's poems conformed to the requirements of the newly developed poetic format (Ching-Ti Shih). Though the percentage of the level and oblique tones by turns among the eight lines conforming to the requirements of the newly developed poetic format (Ching-Ti Shih)was not high, but calculating separately, the author still found a good amount of the level and oblique tones in every two lines conforming to the requirements of the newly developed poetic format (Ching-Ti Shih). And a high percentage of the phenomenon of using the four tones (the level tone, falling-rising tone, falling tone, and entering tone) by turns conformed to the requirements of the newly developed poetic format (Ching-Ti Shih). In other words, Li's poems had a very close relationship with the poetic theories of the early Tang dynasty. This study shows that Li's poems were one of the key links of the evolving poetic format (Ching-Ti Shih). Therefore, Li not only left precious poetic works, but also provided a research space for later poetic researchers. Thus,this is a significant topic for future studies. |
本系統中英文摘要資訊取自各篇刊載內容。