诗韵歌调——和歌的“调”论与汉诗的“韵”论

发布时间：2018-04-09 00:29

本文选题：和歌　切入点：汉诗　出处：《东疆学刊》2016年03期

【摘要】：公元8世纪到11世纪,日本文论家开始套用汉诗的"韵",认为和歌也有"韵"的存在,并模仿诗学中的"诗病"订立了和歌中的"歌病",以防音节单调而规避同一个字音被反复使用。12世纪时,藤原俊成明确指出,和歌并无汉诗那样的"韵"。然而,和歌虽无"韵",但长期以来,音律方面的特点未能用合适的概念加以概括,只是用"拉长声音"之类的词进行表述。直到江户时代,贺茂真渊才提出了"调"这一概念,并明确了"调"的歌唱属性,指出"调"是风格的表现。香山景树在批判贺茂真渊的基础上,强调和歌的"调"是自然真情的表现,因而不必刻意学习古人之"调"。八田知纪在对香川景树"调"论的进一步阐释中,将"调"与日本古代的"言灵"信仰联系起来。至此,和歌的"调"论与汉诗的"韵"论渐行渐远。
[Abstract]:From the 8th century to the 11th century AD, Japanese literary theorists began to use the "rhyme" of Chinese poetry, believing that there was also a "rhyme" in harmony songs.In order to avoid the monotonous syllables and avoid the repeated use of the same pronunciation in the 12th century, Fujihara Juncheng clearly pointed out that the harmony song does not have the "rhyme" like Chinese poetry.However, although there is no "rhyme" in harmony songs, for a long time, the characteristics of rhythm have not been generalized by appropriate concepts, but only expressed by words such as "elongated sound".Until the Edo era, he Mao-yuan put forward the concept of "tune", clarified the singing attribute of "tune", and pointed out that "tune" is the expression of style.On the basis of criticizing he Mao-yuan, Xiangshan Jingshu emphasizes that the "tune" of the harmony song is the expression of natural truth, so it is not necessary to study the "tune" of the ancients.In his further explanation of the "tune" theory of Kagawa Tree, Akira Okada linked the "tune" with the ancient Japanese belief of "Yan Ling".At this point, the harmony of the "tone" theory and the Han poetry "rhyme" theory gradually away.
【作者单位】：北京师范大学文学院;北京师范大学"东方学研究中心";
【基金】：国家社科基金一般项目“中日文论范畴关联考论”,项目编号:13BWW021
【分类号】：I313.072

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