摘要
从诗歌史看"八种韵",其名分、来历不尽相同。同音韵,《八种韵》作者未视作押韵形式;叠韵之韵、叠连韵、重字韵和交锁韵,是《八种韵》作者在没有作品实例依傍的条件下,根据汉语声韵特点而创制的韵式;连韵、转韵和掷韵三种,才是诗史实例的归纳和总结。从"八种韵"可以看到,汉语诗歌韵式的发展一直持续到了中唐,而较之现有的认识,起于六朝的声律理论,以及盛唐以后的诗学,内容更为丰富。
With reference to the history of Chinese poetry, ＂Eight Rhymes＂ are found to be with various classifications and origins. Not taking homophone rhyme as a rhyme pattern, the author of Eight Rhymes creates four new rhyme styles, i. e. , assonance rhyme, successive-assonance rhyme, double-character rhyme and double-rhyme rhyme. The latter four are produced according to Chinese phonetic features rather than examples from poetic works, based on which are summarized adjacent-homophone rhyme, modified rhyme and dynamic rhyme. From the ＂ Eight Rhymes＂ can we see that rhyme styles of Chinese poetry kept developing till the mid-dle Tang Dynasty and were more deeply understood in the theory of poetic rhythm from the Six Dynasties and the poetics after the glorious age of Tang Dynasty than in modem times.
出处
《上海大学学报（社会科学版）》
CSSCI
北大核心
2012年第4期51-61,共11页
Journal of Shanghai University(Social Sciences Edition)
基金
教育部人文社会科学规划项目(06JA75011-44022)
关键词
“八种韵”
《文镜秘府论》
声律论
＂Eight Rhymes＂
Wen Jing Mi Fu Lun
the theory of poetic rhythm
