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題名 | 論王建詩之新奇=Talk on the New and Special Form in Wang Chien's Poems |
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作者姓名(中文) | 謝明輝; | 書刊名 | 長榮大學學報 |
卷期 | 8:2 2004.12[民93.12] |
頁次 | 頁131-148 |
分類號 | 851.441 |
關鍵詞 | 王建; 偶言詞體; 宮詞; 樂府句式; 促收韻; Wang Chien; The six or two-six words (an Even Number) in every sentence in one ballads; Poems about the palace; Poems about the different forms of sentence; The same rhyme in the last two sentences in one poem; |
語文 | 中文(Chinese) |
中文摘要 | 中唐是中國詩歌發展變化最為激烈的階段之一,大抵中唐可分二大詩派:一是以韓愈為代表的奇險怪誕派;二是以白居易為首的社會寫實詩派。王建乃屬後者。據李肇《國史補》所云:「元和已後,文筆學奇於韓愈,學澀於樊宗師。歌行則學流蕩於張籍,詩章則學矯激於孟郊,學淺切於白居易,學淫靡於元稹,俱名『元和體』。」提出中唐時期各個詩人皆善盡詩歌職責,各極其變,或流蕩,或奇澀,或淺切,或淫靡,樹立個人獨特風格。然而,王建雖身處其中,卻被忽略。 據筆者觀察,王建在詩歌創作上,應有四點可為吾人所注意:其一,以七絕形式創立百首宮詞,創新詩歌體制;其二,六言及二六言等偶言詞體之創作,另立詞體之新風貌;其三,大量使用促收韻,造成餘蘊無窮之效果,加上特殊的轉韻技巧,令人耳目一新;其四,樂府句式之求異,獨樹一幟。王建詩的『新』,是呈現在七絕百首宮詞和偶言詞體形式;而『奇』則在樂府句式和用韻技巧中表現,此新奇正好體現中唐詩人的求變心理。 |
英文摘要 | Medium Tang was a Chinese verse development to change one of the most vigorous stages. Generally, medium Tang could divided into two greatest poem parties:was called fantastic poem party and Han Yu was the ther was called the social realistic poem party and Pai Chu I was the leader. Wang Chien was belong to the latter. According to the national historical novel (wrote by Li Tsao) which said that “after the stage of Yuan Ho, the poets learn strange method from Han Yu, or learn astringent style from Fan Tzung S. Songs which they wrote has the flowing style learned from Chang Chi; poems which has the strong style learned by Meng Chiao; simple style from Pai Chu I; obscene content from Yuan Chen, which called “Yuan Ho Ti” ”. Li Tsao announced that every poets in the mid-tang stage accomplish the responsibility on poem and concerned about the change, that is the style below: to be strange; or flowing; or strong; or simple; or obscene, and they set up personal special style. However, Wang Chien was in the times, but he was neglected. According to the research , Wang Chien has four aspects in poems which we should care about: the first one, he established the new form in a set of poems with one hundred which were created by four sentences in one poem; the second, he wrote the six or two-six words (an even number) in every sentence in one ballads; the third, he used a great deal of poems which has the same rhyme in the last two sentences; the forth, he used the special forms on sentences in the poems different from the other poets from the other times. The “new” and “special” style in Wang Chien poems are based on the ideas of pursuing the change in the mid-tang stage. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。