论文部分内容阅读
本文首先从汉语非单音节语言的特质出发,指出我们说话时主要以二、三音节成音组与意组作逗作顿,因此诗行的格律自然以此作为节奏单位。继而追溯汉语古典诗体的变迁。剖示了平仄参差均衡律的特色与优越性,适用于白话新体诗二、三音顿在各行间的错落安排。归结到:循说话的自然规律,以契合意组的音组作为诗行的节奏单位,接近而超出平仄粘对律,作参差均衡的适当调节,就是语体新诗格律化的可行途径。
Starting from the characteristics of Chinese non-monosyllabic language, this paper points out that when we speak, we mainly use the second and third syllable accent groups to make funny contributions to the Italian group. Therefore, the rhythm of the poem line is naturally taken as a rhythm unit. Then traced the changes of Chinese classical poetic style. It shows the characteristics and superiority of the flat-balanced rule, which is suitable for the second and third notes of the new-style vernacular poems. It is concluded that the natural laws of speaking, with the phonetic unit of the fit group as the rhythm unit of the poetic line, approaching and exceeding the appropriate regulation of the flat and sticky law, is the feasible way of regulating the new style of the poetic style.