中国诗体变革的韵律学阐述原文及译文

译文一中国诗体变革的韵律学阐述 Shengli, Feng 1、诗经和离骚中不同韵律结构 《诗经》和《离骚》都同样包含许多诗,它们都拥有结构化的韵律,但正如我在这篇 论文 政研论文下载论文大学下载论文大学下载关于长拳的论文浙大论文封面下载 中所说的,它们是由不同的韵律结构组成的,《诗经》是由“二步律”组成的,而《离骚》的韵律结构我更愿意称其为“顿叹律”。《诗经》的韵律结构举例如下: 1 関雎 関関雎鸠guan guan ju jiu, ‘Kuan-kuan, the ospreys’ 在河之州zai he zhi zhou. ‘On the river’s isle’ 窈窕淑女yao tiao shu nü, ‘Delicate, a good girl:’ 君子好逑jun zi hao qiu . ‘A gentlemen’s fit mate.’ 黍离 彼黍离离bi shu li li, ‘Millets in full rows’ 彼稷之苗bi ji zhi miao. ‘Sorghum in sprouts’ 行迈靡靡xing mai mi mi, ‘Long walk so slow’ 中心摇摇zhong xin yao yao. ‘A heart all tossed’ 知我者谓我心忧zhi wo zhe wei wo xin you, ‘Those who know me say :He is distressed’ 不知我者谓我何求。bu zhi wo zhe wei wo he qiu. ‘Those who do not know me say:What is he up to?’ 虽然《诗经》中有5、6、7、8、9个等音节的情况,但它是建立在四音节的基础之上,因此《诗经》的可测量的韵律基础是二步律,这与《离骚》的可测量的韵律基础是不同的。《离骚》据传为战国时屈原所作,已经打破了《诗经》的二步律,举例如下(X代 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 音节,兮=ha): 2. X 兮魂兮归来!《楚辞·招魂》Zhaohun Soul! Turn back! X X 兮王孙兮归来!《招隐士》Zhaoyinshi O, Prince, return! X X X 兮君不行兮夷犹,蹇谁留兮中洲。《湘君》Xiangjun The goddess comes not, she holds back shyly. Who keeps her delaying within the island? X X X X 兮滔滔孟夏兮,草木莽莽。《怀沙》Huaisha In the teeming of early summer, when flowers and trees burgeon. X X X X X 兮鷙鳥之不羣兮, 自前世而固然。《离骚》Lisao The bird of prey does not go in flocks, so it has been from times long ago. X X X X X X 兮帝髙陽之苗裔兮, 朕皇考曰伯庸。《离骚》Lisao Of the god-king Gao Yang, I am the far offspring, my late honored sire bore the name of Boyong. X X X X X X X 兮紛吾旣有此内美兮, 又重之以脩能。《离骚》Lisao Such bounty I had of beauty within, this was doubled with fairappearance. X X X X X X X X 兮灵氛既告余以吉占兮,历吉日乎吾将行。《离骚》Lisao Since Holy Fen told me my lot of good fortune, I choose a day of good fortune, and I will set out. X X X X X X X X X 兮苟余情其信夸以练要兮,长顑颔亦何伤。《离骚》Lisao If my nature be truly comely, washed utterly pure, what hurt can I have in long wanness from hunger? 2 显然,“兮”可以作为语法及韵律成分被放置在任何两个音节数的韵律成分之间,这表明“兮”是一个短语惊叹号粒子,这就是“顿叹律”的诞生。 有趣的一件事是,在春秋时代之前,《诗经》的二步律已经被标准化了,它作为一种韵律结构成为了当时诗歌的 规范 编程规范下载gsp规范下载钢格栅规范下载警徽规范下载建设厅规范下载 。作为一种诗体的韵律模式,二步律通常被应用于官方的、正式的用途,或用来代表一个人在日常生活中的社会地位和受教育程度。在《诗经》韵律的社会背景下,二步律诗歌的标准化和统一的现实结果就是必然导致僵化。当《诗经》在东周时期被社会经济政治化的时候,《离骚》代表了一种完全不同的情况,在感觉上它与民歌更为相似: (1)它的顿叹律有着更多的韵律自由;(2)它在口语表达中更为简单;(3)它更加地被个人抒情所钟爱。 在离骚创造的韵律的突破性进展下,很容易就能想到在秦朝之后会出现许多种韵律形式。那就是,不仅是三音节的诗,还有每行是5、6、7、8、9个音节的诗都已发生了改变。虽然只是一部分,但是这个预测已经被证实了,那就是,在西汉时被创作出来的诗歌的每一行都是由各种不同的音节数组成的。因此,在《离骚》后不久的一段时期内诗歌全部由混合音节数的诗行组成是不足为奇的。 然而,混合音节数诗行的预测只是部分正确的,这是因为后期对诗歌发展的预测不是完全建立在caesural韵律的基础之上的。 附原文 A Prosodic Explanation for Chinese Poetic Evolution Shengli, Feng May 2009 Abstract This paper proposes an independent system of prosodic application used in Lisao 离骚(attr. Qu Yuan, c.340-278 B.C.), different from the one in Shijing 诗经(Book of Odes). It is shown that while a fixed dipodic prosody (二步律) was used in Shijing, a caesura-based prosody(顿叹律)was developed in Lisao during and after the Warring States period (475-221 B.C.). by the Han dynasty (206 B.C.-220 A.D.) however, flexible caesura prosody was gradually replaced by syllabically-fixed patterns: first trisyllabic, then pentasyllabic and finally heptasyllabic. To date, there has been no reasonable explanation proposed for why and how only odd numbers of syllables in lines developed. This paper deals with this question from a prosodic point of view. It is argued here that poetic evolutions in classical Chinese are determined by the grammar of poetic prosody. 1. Different Prosodic Structures in Shijing and Lisao Both Shijing and Lisao contain poetic verses and thus both are rhythmically structured. However, as I will argue in this paper, they are formed with two different types of prosodic structures. Shijing is constructed by dipodic prosody (二步律) while Lisao is formed by what I would like to call caesura prosody (顿叹律). The rhythmic structures of Shijing can be exemplified as follows.1 1 関雎 関関雎鸠guan guan ju jiu, ‘Kuan-kuan, the ospreys’ 在河之州zai he zhi zhou. ‘On the river’s isle’ 窈窕淑女yao tiao shu nü, ‘Delicate, a good girl:’ 君子好逑jun zi hao qiu . ‘A gentlemen’s fit mate.’ 黍离 彼黍离离bi shu li li, ‘Millets in full rows’ 彼稷之苗bi ji zhi miao. ‘Sorghum in sprouts’ 行迈靡靡xing mai mi mi, ‘Long walk so slow’ 中心摇摇zhong xin yao yao. ‘A heart all tossed’ 知我者谓我心忧zhi wo zhe wei wo xin you, ‘Those who know me say : He is distressed’ 不知我者谓我何求。bu zhi wo zhe wei wo he qiu. ‘Those who do not know me say: What is he up to?’ Although there are five, six, seven, eight and even nine-syllable lines in Shijing, its basic rhythmic structure is formed by tetrasyllabic lines, and thus the metrical structure of Shijing is dipodic prosody (二步律), which is different from the metrical structure of Lisao. Lisao,which legend attributes to Qu Yuan of the Warring States period, has broken through the dipodic prosody of Shijing, as shown by the following. (‘X’represents ‘syllable’, ‘兮=*ha’is an exclamation particle) 2. X 兮魂兮归来!《楚辞·招魂》Zhaohun Soul! Turn back! X X 兮王孙兮归来!《招隐士》Zhaoyinshi O, Prince, return! X X X 兮君不行兮夷犹,蹇谁留兮中洲。《湘君》Xiangjun The goddess comes not, she holds back shyly. Who keeps her delaying within the island? X X X X 兮滔滔孟夏兮,草木莽莽。《怀沙》Huaisha In the teeming of early summer, when flowers and trees burgeon. X X X X X 兮鷙鳥之不羣兮, 自前世而固然。《离骚》Lisao The bird of prey does not go in flocks, so it has been from times long ago. X X X X X X 兮帝髙陽之苗裔兮, 朕皇考曰伯庸。《离骚》Lisao Of the god-king Gao Yang, I am the far offspring, my late honored sire bore the name of Boyong. X X X X X X X 兮紛吾旣有此内美兮, 又重之以脩能。《离骚》Lisao Such bounty I had of beauty within, this was doubled with fair appearance. X X X X X X X X 兮灵氛既告余以吉占兮,历吉日乎吾将行。《离骚》Lisao Since Holy Fen told me my lot of good fortune, I choose a day of good fortune, and I will set out. X X X X X X X X X 兮苟余情其信夸以练要兮,长顑颔亦何伤。《离骚》Lisao If my nature be truly comely, washed utterly pure, what hurt can I have in long wanness from hunger? Clearly, the syntactic as well as the prosodic positions of *ha 兮can be located between any two syntactic constituents (i.e. NP, PP, VP, AP, etc.) with different numbers of syllables. This implies that 兮is a phrasal exclamation particle which gives rise to a caesural prosody. What is interesting to note here is the fact that the dipodic prosody of Shijing had been standardized as a norm of metrical structure for poetry of that time, i.e. before the Spring and Autumn period (722-481 BC). As a model of poetic prosody, dipodic poems were always used for formal, official and diplomatic purposes, as well as to represent one’s soci al and educational status in everyday life.3 Given the sociolinguistic function of Shijing prosody, it would be expected that the pragmatic results of the standardization and unification of dipodic poetry would inevitably lead to a process of fossilization (cliché). While Shijing had been socio-politicized during the Eastern Zhou period (770-256 BC), Lisao represents a totally different scenario: it is closer to folk songs in the sense that (1) its caesural prosody has more metrical freedom; (2) it is more easily used for oral expressions and (3) it is favored by personal lyricism. Given the prosodic breakthrough created by Lisao, it is natural to expect that there would be various new prosodic structures after the Qin dynasty (221-207 B.C.). That is, not only trisyllabic poems, but also poems of five, six, seven, eight or even nine syllables per line would have developed. This prediction is borne out, albeit only partially, by the fact that poems created in the Western Han dynasty were in fact formed by lines with mixed numbers of syllables. Thus, it is not surprising that there was a period of time not long after Lisao during which poetic forms were prosodically structured with mixed numbers of syllables.