Pub Date : 2022-12-01DOI: 10.53106/181147172022120028004
吉田文子 吉田文子
樂府詩之起源為民間流傳歌謠,初期樂府歌辭皆是為了配樂吟唱而作。因此漢朝樂府歌辭中除了音樂符號等特色外,亦多呈現各種修辭技巧,例如:疊字、疊句、對偶、頂真、排比、層遞等。此些修辭技巧共同特色為形式與意義上的「重疊反覆」,在歌辭中亦蘊含著獨特的節奏感。其中的「頂真格」即如接龍遊戲,「對偶」則上下對照相似兩句,作者從研究中認為這兩項修辭技巧在配樂而吟唱的樂府詩中扮演重要的角色。據此,本文研究範圍為「鼓吹曲辭」、「相和歌辭」中的漢朝民歌,探討其中獨特的修辭技巧。主要針對民歌中的「頂真格」在釀造節奏感的作用中對詩意產生的影響,以及在六朝時期已普遍化的「對偶」在漢朝民歌中又曾是如何的角色,這兩大部分進行分析與探討。 Yue-fu poetry originated from folk songs, and most of the early days of Yue-fu poetry were accompanied by music. For this reason, not only musical symbols can be seen in the lyrics of Yue-fu poetry in the Han Dynasty, but also various rhetoric are frequently used. These rhetoric have in common that they repeat in form and meaning with a slight change in font and content, creating a unique rhythm in the lyrics. Among them, the ding-zhen that resembles Japanese word chain game and the antithesis that contrasts two similar phrases play an important role in characterizing Yue-fu poetry as a song. This paper study the characteristic rhetoric of folk songs in the Han dynasty, which are found in "Gu-chui quci" and "Xiang-he geci". The second chapter explores the effect of the ding-zhen on poetry, and the third chapter explores aspects of the antithesis.
乐府诗之起源为民间流传歌谣,初期乐府歌辞皆是为了配乐吟唱而作。因此汉朝乐府歌辞中除了音乐符号等特色外,亦多呈现各种修辞技巧,例如:叠字、叠句、对偶、顶真、排比、层递等。此些修辞技巧共同特色为形式与意义上的「重叠反复」,在歌辞中亦蕴含著独特的节奏感。其中的「顶真格」即如接龙游戏,「对偶」则上下对照相似两句,作者从研究中认为这两项修辞技巧在配乐而吟唱的乐府诗中扮演重要的角色。据此,本文研究范围为「鼓吹曲辞」、「相和歌辞」中的汉朝民歌,探讨其中独特的修辞技巧。主要针对民歌中的「顶真格」在酿造节奏感的作用中对诗意产生的影响,以及在六朝时期已普遍化的「对偶」在汉朝民歌中又曾是如何的角色,这两大部分进行分析与探讨。 Yue-fu poetry originated from folk songs, and most of the early days of Yue-fu poetry were accompanied by music. For this reason, not only musical symbols can be seen in the lyrics of Yue-fu poetry in the Han Dynasty, but also various rhetoric are frequently used. These rhetoric have in common that they repeat in form and meaning with a slight change in font and content, creating a unique rhythm in the lyrics. Among them, the ding-zhen that resembles Japanese word chain game and the antithesis that contrasts two similar phrases play an important role in characterizing Yue-fu poetry as a song. This paper study the characteristic rhetoric of folk songs in the Han dynasty, which are found in "Gu-chui quci" and "Xiang-he geci". The second chapter explores the effect of the ding-zhen on poetry, and the third chapter explores aspects of the antithesis.
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