领字与慢词节奏、句法、结构的创新

发布时间：2018-04-23 12:46

本文选题：领字与慢词艺术特征 + 慢词节奏　；参考：《北京大学学报(哲学社会科学版)》2017年04期

【摘要】：领字历来被视为探究词艺术特点的极佳切入点。领字的使用给慢词带来了节奏、句法、结构的重大创新。领字主要有一、二、三、四字四种,而一字领和三字领使用尤为频繁。在演唱吟诵的过程中,这两种领字分别与不同数量的双音、三音词结合,并采用固定的顿歇和密集用韵,从而人为地将1+4、3+3、3+4三种散文节奏改造为词中特有的诗歌节奏。在句法方面,慢词中一、三字领普遍引领多句,从而催生了具有头小尾大特征的主谓句群和题评节段。在领字所催生的各种创新之中,意义最为深远是慢词结构之质变。严格地说,小令始终未能冲破诗体结构的桎梏,词是到了慢词才发展出自己独一无二的结构。在以柳永所代表的早期慢词之中,领字的作用从句法层次扩展到结构层次,每个领字和所领部分横向地构成一个主谓句群或题评节段,而所有领字又纵向地紧紧连成一串,一种立体的连环式迭加结构便应运而生。这种结构前所未有、后无来者,堪称中国诗歌史上的一朵奇葩。在柳永之后,随着领字的蜕变和消失,在诗体结构影响回流的情况下,柳氏连环式迭加结构又衍出二元体迭加、序列迭加结构。柳永等人创立慢词,深入挖掘领字的特殊功能,引入所有这些新颖的节奏、句法、结构,从而创造出比诗体和小令"文更繁而意更深广"的词境。
[Abstract]:The collar has always been regarded as an excellent entry point to explore the artistic characteristics of ci. The use of collar has brought great innovation of rhythm, syntax and structure to slow words. There are mainly one, two, three, four characters, and one word and three-word lead use is particularly frequent. In the process of singing and reciting, these two types of characters are combined with different numbers of dicyllabic and three-syllable words respectively, and adopt a fixed rest and intensive rhyme, thus artificially transforming the rhythm of 14 pieces of prose and 33 pieces of prose into the unique rhythm of poetry in the ci. In syntactic aspect, the first and third characters of slow words generally lead to multiple sentences, thus giving birth to subject-predicate sentence groups and comment paragraphs with big features of beginning and ending. Among all kinds of innovations, the most profound meaning is the qualitative change of slow word structure. Strictly speaking, Xiao Ling failed to break through the shackles of poetic structure. In the early slow words represented by Liu Yong, the role of the collar extended from the syntactic level to the structural level, each leading word and the leading part formed a subject-predicate sentence group or comment section horizontally, and all the collar characters were closely connected vertically. A three-dimensional serial superposition structure emerges as the times require. This kind of structure unprecedented, after no one, can be called a wonderful flower in the history of Chinese poetry. After Liuyong, with the change and disappearance of the leading characters, under the influence of the poetic structure, the Liu's serial superposition structure produced the binary superposition structure and the sequence superposition structure. Liu Yong and others created slow words, deeply explored the special functions of collar words, and introduced all these novel rhythms, syntax and structures, thus creating a more complex and profound poetic context than poetry and Xiao Ling.
【作者单位】：香港岭南大学中文系;
【基金】：香港研究资助局优配研究金的资助(项目编号LU13400014)
【分类号】：H141

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