词体语言研究

【作者】 李东宾；

【导师】 叶嘉莹； 陈洪；

【作者基本信息】 南开大学 ， 中国古代文学， 2009， 博士

【副题名】以语言形态和言说方式为中心

【摘要】 词体是中国诗歌发展至唐宋时期,伴随着当时流行的燕乐而产生的一种有着鲜明的外在语言形态和独特文化内涵的诗歌体裁。本文从词体语言的外在形态和言说方式两个方面来考察词体,尝试着对词体特质以及词体在产生和演进过程中出现的诸多语言现象进行阐释。全文除引言外共四个部分:第一部分从中国诗体发展的角度将词体概括为“诗体穷变的音乐文学”。第一,诗歌从本源上讲是诗乐结合的产物。近体诗已将诗歌的语言文字方面的功能发展到极致,物极必反,近体诗与燕乐结合而产生的词体,从诗歌的音乐方面解构了近体诗整齐刻板的诗行,为诗歌开辟出了新的发展道路,词体有着诗体穷变的历史必然性。第二,词体是音乐文学的典型代表,是唐宋时期社会享乐游宴之风盛行之下所产生的一种“文学—文化现象”,词体的字词、句式、韵律、结构以至于内在的意蕴和特质,无一不是音乐陶冶塑造的结果,吻合表演及歌唱的需要是词体语言的第一要义。第三,从词体外在的句式和体制两方面来讲,词体是中国诗体发展的必然结果。词体以前,中国诗歌句式经历了一个从四言到五言再到七言的发展历程,体制经历了一个四言诗、汉乐府、古诗直到以律绝为主的近体诗的齐言演进历程,然后转变为句式参差、体制丰容的词体。纵观这一历程,我们可以清晰地看到,诗体的发展是一个句式逐渐展开、体制渐趋丰容的过程,词体的语言面貌顺应了诗歌表意功能渐次完备丰富的发展趋势。此为全文的概述部分,为下文的论述奠定了必要的基础。第二部分从共时的角度将词体概括为一种散文化的诗体。语言和体制近于散文化的书写是词体区别其他诗体的最鲜明的外在表征。这一部分比较集中地从字法、句法以及章法三个方面论述了词体散文化的诸多表征。应该说,词体的字法、句法、章法这三个方面有着丰富的内容,当代的学者多从意象和篇章结构方面入手,阐释词体“要眇宜修”的特质,且已取得了丰厚的成果。鉴于已取得的成果以及尚未开发或开发不足的领域,本文特选取最能表现词体散文化倾向的语言形态和言说方式来加以论述。这些内容包括字法中大量领字、虚字的出现;句法中参差错综的句式组合及其表达效果;章法上,在加长的篇幅中,“赋”之手法的引入,这一手法大致体现为细致的描写、具体的叙事和直露的抒情等等。这些散文化的表征,一方面是音乐塑造的结果,另一方面,也体现了语言通俗化的发展大势。在中国文学发展由“诗歌时代”向“散文时代”转移兴替的过程中,词体无疑具有着过渡文体的语言特征。第三部分是从语言发展的角度对词体特质的解说内容。词体有着诸多散文化的表征,也体现了语言通俗化的倾向,然而就在这浅近易晓、通俗明白的言辞语体背后,却深蕴着“要眇幽微”的词体美质。本文将这一现象归结为语言的通俗化的直露“发越”趋势与中国诗歌含蓄蕴藉的美学传统之间,相互冲突、融合的结果。产生于唐宋社会文化转型时期的词体,见证了社会由古典社会向近代社会的过渡,文化由“盛唐气象”向“宋型文化”的嬗变,汉语由古代汉语向近代汉语的转移,诗歌由意象呈现向散文化抒写的发展趋势。这些都促成了处于变革时期的词体也具有着多重特性的过渡性文体特征。而其中最为重要的是,语言的俗化“发越”趋势与诗歌的意象“含蓄”传统矛盾地统一于词体之中,最终形成了在清浅明白的散文化的意象语言中,包孕着丰盈意蕴的词体特质。第四部分是从言说方式转型的角度对词体演进规律的考察。词体既包含着诗歌传统含蓄的潜质,又以音乐和市井情调为依托,顺应了语言俗化的“发越”趋势。表现于词体的演进,就是一个诗歌含蓄传统的意象抒情手法的回归和散文式的直言无隐抒写手法的拓展,两种言说方式矛盾冲突共进的发展过程。一个耐人寻味的现象是,从温庭筠双片体制的确立到周邦彦长调的规范化、格律化,这段从晚唐五代到北宋末年的词体演进的历程,始终伴随着两种手法的衍生共进,而且都以当时最高成就的词人作为代表,温庭筠与韦庄、冯延巳与李煜、晏欧与张先、苏轼与柳永、秦观与周邦彦,终以周邦彦在“含蓄”的传统与“发越”的笔法、“诗人之词”与“词人之词”之间达成妥协而集其大成。这一现象绝非偶然,正是词体这一散文化诗体两种言说质素于词体演进中的体现。本文以文体学一般原理为依据和指导,联系当时的文学及语言面貌,并结合当前词学已取得的研究成果,以解释词体特质及其在产生和演进过程中出现的诸多语言现象。这样的研究无疑具有着尝试的意义和直探本源的性质。更多还原

【Abstract】 Ci is a sort of the Chinese poetry genre, which has a distinct external morphology and a unique culture contents along with the Yan-yue in Tang and Song Dynasties. In this paper, we study from the external morphology and the saying way to examine Ci and try to explain the essence and the linguistic phenomena which emerged in the process of formation and evolution of Ci. The full text divides into four parts:The first part is from the perspective of long term and sums up Ci as a "music literature of changing of poetry genre." Firstly, poetry is the product of combining poetry and music from the origin. New metrics poetry is up to the extreme about language development of language functions, and on the Contrary, Ci which is the product of combining poetry and Yan-yue deconstructs the rigid line of the New metrics poetry from the music and opens up a new road for the development of poetry, Ci has historical inevitability of changing. Secondly, Ci is a typical representative of music literature, at the same time, Ci is a "literature --cultural phenomenon", emerging under the background of pleasure-seeking society in Tang and Song Dynasties. The words, sentence patterns, rhythm, structure, the implication and the intrinsic characteristics of Ci are all the result of music shaping. The need of singing is the first prerequisite in Ci. Thirdly, from the sentence and institutional aspects, Ci is a inevitable result of the development of Chinese poem. The development of sentence of Chinese poetry before Ci has undergone a process from four Characters to the Five Characters and Seven Characters, the development of poetry institution has gone through a four Characters poetry, musical poetry in Han Dynasty, ancient poetry until New metrics poetry, and then we can see Ci which owns kinds of sentences and the spreading institutional capacity .Throughout this journey, we can clearly see the development of poem which gradually spreads it’s capacity from the sentence and institution, complying with the objective trend of the development of linguistics function. This part is an overview of the full text, which lays the foundation for later discussion. The second part sums up Ci as a poetry genre of prose form from the synchronic point of view. The outstanding difference of Ci from the other poetries is near to prose form in language and institution. This part discusses mainly on characterization of prose from words, syntaxes and structures of Ci. It should be said that the words, syntaxes and structures have rich content, many contemporary scholars explain Ci’s "implicit" characteristics from the aesthetic images and structures, and have made many substantial results. In view of the results achieved and having not yet developed or underdeveloped areas, this part specially selects the language’s external morphology and the saying way to study. These elements include the appearance of "leading characters" and "virtual characters"; the combinations and expressions of intricate and varied sentences, the "Fu" introduction in the longer chapters, which generally reflects detailed descriptions, specific narrative and explicit lyric and so on. The characterizations of prose, on the one hand are the result of music-shaping, on the other hand, reflect the general trend of the development of language’s popularization. Ci owns undoubtedly the stylistic characteristics of language of the transition in the development of Chinese literature from "Poetry time" to "Prose time".The third part explains the essence of Ci. Ci has a lot of characterizations of prose, reflecting the popularization of the language, but it owns the "implicit" characteristics in the popular language In this part, the text attributes the phenomenon to the result of the conflict and union between the popular and explicit trend of the language and Chinese poetry’s implicit aesthetic tradition. The genre of Ci being born in the period of the Tang and Song Dynasties with social and cultural transformation, witnessed the society transit from classical to modern, culture evolution from "Tang" to "Song", Chinese from classic Chinese to modern Chinese, poetry saying way from image presented to Characterization of prose .All of these had Ci had multiple characteristics in the transformation. And one of the most important things is the contradiction of the language’s secularization trend and the poetry implicit tradition in Ci, and shaping eventually up the easy understood prose with imagery language to have the rich connotation.The fourth part explains the law of the evolution of Ci. Ci both includes traditional implicit potential, and conforms to the popularization trend of language on base of music and street style. The performance in the evolution of Ci is returning to the implicit tradition of poetic imagery and expansion of explicit prose, the contradiction and conflict promotes the development of Ci. One intriguing phenomenon is, from the Wen-Tingyun’s double system established to Zhou-Bangyan long standardization, and the development of Ci from the Late Tang and Five Dynasties to the Northern Song Dynasty , always accompanied by two methods, and all at the highest achievements of ahthors as the representative,such as Wen-Tingyun and Wei-Zhuang, Feng-Yansi and Li-Yu, Yan-Shu, Ouyang-Xiu and Zhang-Xian, Su-Shi and Liu-Yong, Qin-Guan and Zhou-Bangyan, eventually Zhou-Bangyan is comprehensive author. This phenomenon is not a accidental things, it is the embodiment of the two saying way in the evolution of Ci.This paper regards the general principles of genre as the basis and guidance, then contacting the fact of literature and language, combining with the current studying results of Ci, to explain the many language’s phenomena appearing in the process of formation and evolution of Ci. Such research has undoubtedly the trying significance and the nature of origin-seeking of Ci.更多还原