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題 名 | 杜甫「七言樂府詩」押韻的韻律之研究=A Research on the Rhyme Scheme of Du-Fu's Seven-Character Yue-Fu Poem |
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作 者 | 耿志宏; | 書刊名 | 華人前瞻研究 |
卷 期 | 9:1 2013.05[民102.05] |
頁 次 | 頁107-129 |
分類號 | 851.441 |
關鍵詞 | 押韻; 樂府詩; 歌詩; 杜甫詩; 韻律; Yue-Fu; Song-poem; Poems by Du-Fu; Rhythm; |
語 文 | 中文(Chinese) |
中文摘要 | 大陸學者吳相洲主張樂府詩屬於「歌詩」,雖然是承襲了陳寅恪的看法,但它既然是具有音樂生命的創作,當然一定能找出它的音樂特質,也就是「繁音促節,迂迴往復」,韻律呈反覆的、規律的變化。由於唐代設有「釆詩官」制度,以及具有掌管音樂的「教坊」,加上文獻中多有「樂府詩」傳唱的記載,另外唐代的敦煌變文裡,出現在故事後面多有「唱」的曲詞,由於唐樂府其句式、押韻形式與之相近似,陳寅恪認為唐樂府是具備「音樂」性質的作品。又因為盛唐時期的杜甫工於韻律,又善於長篇的詩作,並且在詩集中所收錄的樂府詩作約近一百篇,因此本論文希望從這些語料上看出端倪。尤其杜甫的「七言樂府詩」作裡,韻律呈規律的轉換最為明顯,可以找出他具有「歌詩」這樣的押韻形式。經過翻查後的歸納與分析,發現杜甫在七言樂府詩裡,所存在的律動現象,轉換韻腳,每一小節呈2句、2句、4句、4句變動,或是4句、4句、4句、4句變動,呈規律的、反覆的轉變,展現平、仄的輪替,甚至平與上、去、入四聲的輪替。每小節若為2句,上、下句都要押韻;每小節若為4句,第1、2、4句都要押韻,這是它和長篇古體詩、排律不相同的地方。 |
英文摘要 | Mainland Scholar Wu Xiong-Zhao argues that ”Yue-Fu” poem, sometimes translated as ”folk-song-styled-verse”, should be categorized as a kind of ”Song- Poem”, echoing Cheng Yin-Ke Cheng's argument. Yue-Fu, being a musical composition, was characterized by its musical qualities, such as ”complicated tones, short stanzas, and a lot of refrains,” basically a kind of repetitive and regular rhythm. In Tang Dynasty, there were officials like ”Poem Collectors” responsible for the collection of folk songs and Jiao-Fang excelling at musical performances. Along with the documentary records of Yue-Fu being sung to the music and the syntax and rhyming scheme in the ”singing” parts after the narratives of Dun-Huang Bian Wun similar to those in Yue-Fu, Cheng Yin-Ke argues that Yue-Fu in Tang Dynasty are works with musical qualities.As Du-Fu, a well-known Mid-Tang poet, was good at both rhyming and composing long poems, with about one hundred Yue-Fu poems in his collection, this article seeks to locate his ”song-poem” rhyme schemes to support Cheng and Wu's argument. It should be pointed out that regular rhymes are most obvious in his seven-character Yue-Fu. An extensive research and analysis found that repetitive, regular patterns of rhyme changes could be observed. For example, there are the 2, 2, 4, 4 pattern and 4, 4, 4, 4 pattern in a stanza, accompanied with the rotation of the level and oblique tones-or those of the level tone, falling-rising tone, falling tone, and entering tone. Also, in a two-line stanza, both lines are rhymed, while line 1, 2 and 4 are rhymed in a 4-line stanza. In this way, they are distinctly different from the long ancient-style poems (Gu-Ti) and long regulated poems (Pai-Lu). |
本系統中英文摘要資訊取自各篇刊載內容。