摘要
古诗重在自然之音节,原无所谓声律。至南朝宋末而有平上去入四声之名目,沈约著《四声谱》,四声应用于诗歌文学创作,古诗开始由自然声律向人为声律转型。五言之诗,字配四声声调,调声构律,组合计算之理,类九宫之算法。由是探研律调之秘,释解拗律之谜,制成声律九宫格谱图,古诗之格律一目了然:永明律诗,四声分用,二五异声,九宫之四正四维,句多入律;唐宋律诗,平仄二元,二四异声,律句在四正,拗句在四维,"特拗"别立中宫。教学唐诗,或从图谱索句,或按宫格填联,声律无不中规合矩。
Originally ancient poetry favored and followed natural rhythm. Four tones did not appear until Nan Dynasty and Late Song when scholar Shenyue wrote a book called Four Torte Spectrogram and then the four-tone system was put into practice in the composition of poetry and literary works. From then on ancient poetry began its gradual transformation from natural syllabic stress to systematic rhythmic stylistic production. In five-character poetry, the wonders of putting words according to four tones and rhythms in combinations calculated similarly to Jiugong counting. In the miraculous creation of ancient poetry rhythm patterns and principles, clear, plain and beautiful clues and hints for poetry composition came into being..Yongming poems have two five sounds, separately used four tones with four dimensions in the spectrogram, and they have regular rhythmic patterns in sentences. While Tang poetry have different rhythms on the second and fourth sentences, with up and down patterns, and four character poetry Luju with four dimensions, Aoju with negative rhythmic patterns etc. These are all the models of the beauty of composing poems. In teaching Tang poetry, all the professional and scientific principles and rules for getting rhythmic characters or sentence patterns ought to be carefully studied and followed closely and unquestionably.
出处
《广东技术师范学院学报》
2014年第10期61-78,共18页
Journal of Guangdong Polytechnic Normal University
关键词
自然声律
人为声律
九宫算
永明体
唐诗教学
声律九宫谱
natural rhythm
artificial patterns
Jiugong counting
Yongming poetry
Tang poetry teaching
Jiugong Spectrogram of rhythm
