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四聲守律的尺度,是貫穿清代詞學發展的重要問題,也是晚近詞律變革的主題。自萬樹至晚清四大家,逐漸形成的一套較爲公認的詞律體系,在民國初期遭受了巨大的文化衝擊,並由此引發詞壇、學界的一系列論戰。置身於這百年間的張爾田,對有清一代不同時期、不同流派的守律標準有著獨到的觀點。在批評領域,張爾田主要繼承了鄭文焯的詞律理論,謹持較嚴密的四聲準則;但在實際創作中,他主張詞體擺脱四聲桎梏,以適應表達。本文以清末民初詞壇为觀照,从詞學理論與詞體創作兩個角度,對比性剖析張爾田多元而圓融的四聲觀念。
The principle of “four-tone” is the important issue that runs through the development of Ci-poetry in the Qing Dynasty and also the theme of the recent change of the law of words. From Wanshu to the late Qing dynasty, a set of relatively well-established system of word rules gradually suffered a great cultural impact in the early Republic of China and led to a series of polemical debates in the ci poetry and academic circles. Zhang Ertian, who lived in this century, has a unique perspective on the standards of observing at different periods and different schools of the Qing Dynasty. In the field of criticism, Zhang Ertian mainly inherits Cheng Wenzhuo’s theory of the word law, and upholds the more stringent four-tone principle; however, in actual writing, he advocates that the phonetic form get rid of the four sounds in order to adapt to the expression. This essay regards the altar in the late Qing Dynasty and the early Republican period as the reference, analyzes the four-sound concept of multiple and perfect harmony of Zhang Ertian from two perspectives of Ci-theory and Ci-creation.