【作者】 张培阳；

【导师】 卢盛江；

【作者基本信息】 南开大学 ， 中国古代文学， 2013， 博士

【摘要】 自唐以来,一般都将近体的定型笼统归于沈、宋名下,这种观点不尽合理。有关律句范围的记载和研讨,历代颇为纷纭,而字声研究却相对阙如。本文分为上、下两编,上编考察五律、五绝、七绝、七律的定型,并侧重分析了六言近体和仄韵近体的律句和篇式。下编为(平韵五、七言近体)律句与字声研究,它是前编写作的基础。此外,本文还探讨了,与诗律发生紧密相关的李白古律、折腰体、七言一韵歌行、五、七言转韵新体等问题。具体内容如下：五律是近体声律中成熟最早的一种,其声律权舆于齐永明沈约、谢眺、王融等人创制的“永明体”,此后,历经梁、陈、隋、初唐太宗朝的发扬,至武后中宗朝的沈佺期、宋之问、杜审言、李峤、杨炯等人宣告完成,费时二百二十余年。其间,声律的完善,经历了有非律句到无非律句,有失对、失粘到失对、失粘日趋减少,乃至无有的漫长过程。徐陵和王绩的声律水平是他们各自时代中的佼佼者。五、七绝、七律的声律发展和定型也大致经历了如上一个不断完善律句、对、粘的过程。所不同者,由于各体发展的不均衡,它们的声律进化(到后期主要是粘法)大多要迟到大历才臻于结束。绝句(包括五、七绝)体制可以分为新体绝句、律绝、古绝和拗绝四种。四种体制不是每一个时期都有。主流是律绝。崔颢、李白、杜甫的七律拗体,实质是古律,它是当时七律不彻底的古体改造造成的。七律得于定型,主要渊源于七言一韵新体,尤其是七言八句一韵新体自身的声律发展,而与七言转韵新体(初唐七言歌行)关系较远。六言近体的律句有六大类。五、七言仄韵近体的律句范围,除了平韵近体的之外,还包括以下三种：“仄仄平仄平”、“平仄平仄平”和“仄平仄仄平”(孤平)。此外,平韵近体对于“(?)仄平平平”、“(？)仄（）？）仄仄”两种句式的使用,有一定的前提条件,仄韵近体则没有这种限制。五、七言平韵近体的律句,主要有21种,其中以“一不论”中的7种,外加“平平仄平仄”最为常用,其次是“三不论”中的5种,其余的8种如“仄平仄平仄”、“仄平仄仄仄”等,所占比例虽不大,但也是近体律句中的一部分。“(?)仄平平平”(三平)的使用有一个多用而趋罕用或者不用的过程。此外,“(?)仄平仄平”、“(?)仄(?)仄仄”(下句不救以平声者)两种,也不宜一概视为非律句。反之“仄平仄仄平”(孤平),则应该视为非律句。自元代方回以来,拗体之论颇为盛行,降及清代,诗律中有两种“拗”之说,一为不常见的律句,一为非律句,两种性质截然相反,今人多有不辨其中区分而致误者,一为以拗名律,一为拗律混谈。较为系统的字声研究,主要始于王力《汉语诗律学》中《声调的辨别》一节,本文除了订正王先生的个别讹误之外,另外还分析“阿”、“劳”等15个字的字声。齐永明到大历的新体创作(包括近体),本无平、仄韵之分,也无一韵到底与转韵之别,不但仄韵有新体、近体之作,转韵也有。附录中《五言转韵新体述论》、《释“歌行中律体”的体制特征》两文,正是试图证成其说之作。此外,附录中《折腰体新探》、《李白“以古行律”表微》、《南北朝至大历七言一韵歌行体制演变通论》等文,也与本文有直接或间接的关系,如无论是绝句折腰,还是律诗折腰,基本上都是各自声律尚未进化完成的表现之一；李白众多“以古行律”之作,实为当时方兴未艾“古律”创作潮流中的一支；而南北朝到大历七言一韵歌行体制演变总的考察,可以说是本文探讨七绝、七律律化之路的先声。更多还原

【Abstract】 It’s not reasonable that scholars usually ascribed the confirmation of the modern-styled poetry to Shen and Song since Tang Dynasty. There are extensive records and researches of metrical verses in successive dynasties while the research of words tone is rarely mentioned. My thesis consists of three parts. Part one is the overall evolution of tone of modern-styled poetry with the aid of Wu Lv (new-styled poem and modern-styled poetry included). Part two is about the confirmation of several modern-styled poetries like Wu Jue, Qi Jue and Qi Lv, with emphasis on the sentences and passages of Liu Yan and Ze Yun poetry. Part three probes into the research of verses and words tone, which is the theoretical basis of the former two parts. And, furthermore, this thesis discusses the highly-relative Li Bai Poetry, Zhe Yao Style Poetry, Qiyanyiyungexing and Qiyanzhuanyunxinti. The details are as follow:As for the tone and meter of modern-styled poetry, Wu Lv was one of full-blown one. It originated form the "Yongming Style", which was created by Shen Yue, Xie Tiao and Wang Rong in the Yongming period in Qi Dynasty. It took over220years to go forward, then flourished in Liang, Chen, Sui and Early Tang Dynasties and was claimed to be completed by Shen Quanqi, Song Zhiwen, Du Shenyan, Li Jiao and Yang Jiong in WuHou Period of Tang Dynasty. Meanwhile, the perfection of tone and meter underwent long periods of the eliminating of irregular sentences and so it is with the case of "Shi Dui" and "Shi Nian". Among the poets Xu Ling and Wang Ji are the most eminent of their own time. Shangguan Yi’s "Shu Dui" theory aimed at the meaning of words and Chen Ziang’s restoration had been cleared of scorning, though it did impact on his composing of poetry.It was a continual perfection of the development and confirmation of Wu Jue, Qi Jue, Qi Lv. Due to the imbalance the development of meter and tone went forward until in the period of Tangdaizong Dali. Quatrains(including Wu Jue and Qi Jue) system consists of modern-styled quatrain system, Lv Jue system, Gu Jue system and Ao Jue system. Among which Lv Jue became the mainstream. Qi Lv of Cui Hao, Li Bai and Du Fu were virtually belong to ancient meter which owed to the incomplete renewal. The confirmation of Qi Lv, was remote from Qiyanzhuanyun xinti, attributed to the Qiyanyiyunxinti. Liu Yan modern-styled poetry were divided into six categories. Besides Ping Yun modern-styled poetry, the range of the Wu Yan and Qi Yan consisted of "Ze Ze Ping Ze Ping","Ping Ze Ping Ze Ping" and "Ze Ping Ze Ze Ping". In addition, there are certain preconditions when applying "Ze Ze Ping Ping Ping" and "(?) Ze Pn Ze Ze" in Ping Yun modern-styled poetry, while Ze Yun style is not restricted.There are mainly21types of sentences in Wu Yan and Qi Yan Ping Yun modern-styled poetry, among which "Ping Ping Ze Ping Ze" prevails, next to it is another5types of "San Bu Lun". Sentences like "Ze Ping Ze Ping Ze","Ze Ping Ze Ze Ze" account for small proportion. The application of "Ze Ze Ping Ping Ping"(three Pings) faded away gradually."Ze Ze Ping Ze Ping","Ze Ze Pn Ze Ze" are not belong to irregular sentences. While "Ze Ping Ze Ze Ping"(Gu Ping) should be considered as irregular sentence. The theory of "Ao Ti" prevailed since Fanghui in Yuan Dynasty, and faded in Qing Dynasty. There are two statements of "Ao", one is so-called "uncommon regular sentence", the other is "irregular sentence", which are completely the contrary. Systematical research of tone began with Wang Li’s work of<The discrimination of Tone>(<Chinese Poetry Theory>). My thesis revises some errors of<Chinese Poetry Theory>, besides, I also analyzes the tone of15characters, like "a" and "lao".更多还原