摘要
西方诗歌与汉语诗歌成熟的格律诗体,普遍存在半逗律“行间音顿节奏”与轻重律或长短律“行内音步节奏”相套叠的节奏形式。汉语诗歌的节奏也是半逗律行间节奏与行内一拍子轻重节奏相套叠的形式。利用对称五范式改进林庚的半逗律诗体,并引进平仄,是探索新诗格律化运动的坦途。
In both Western poetry and Chinese poetry,there exists a mature metrical verse style,in which the big-pause“inter-line rhythm”overlaps with the light-heavy or long-short“intra-line rhythm”.The rhythm of Chinese poetry is also a form of overlapping between the big-pause“inter-line rhythm”and the one-beat light-heavy intra-line rhythm.Therefore,the use of the symmetrical five paradigms to improve Lin Geng’s big-pause poetic style as well as the introduction of the tonal pattern is a straightforward way to explore the metricalization movement of new poetry.
作者
孙则鸣
SUN Zeming(The Vocational School of Yiyang Sheet Factory,Yiyang 413001,China)
出处
《常熟理工学院学报》
2021年第1期7-16,共10页
Journal of Changshu Institute of Technology
关键词
节奏支点
行间节奏
行内节奏
音步
音顿
套叠结构
rhythm fulcrum
inter-line rhythm
intra-line rhythm
foot
syllable pause
overlapping structure
