【作者】 富世平；

【导师】 赵逵夫；

【作者基本信息】 西北师范大学 ， 中国古代文学， 2002， 硕士

【摘要】 前人对七言诗的研究，主要集中在对其起源的探讨上，本论文在前人研究的基础上，对起步阶段的七言诗即汉代七言诗作了较为系统全面的研究，共分三部分： 第一部分，汉代七言诗文本研究。论文在概论汉代七言的基础上，对楚歌体七言、汉镜铭文中的七言、文人七言及七言谣谚等汉代七言的各种形态进行了比较系统的研究。楚歌体七言尚不完全定型，但由于在楚汉之际就得以兴盛，在两汉有广泛传播、较高地位，节奏、韵式和其它七言无异，故而对汉代七言的发展有较大影响。其浓郁的抒情风格也奠定了文人七言的抒情特征；汉镜铭文中的七言诗，文章在论述其之所以为诗的基础上，对其思想内容、发展过程、流行地域及特点作了全面考论；文人七言诗部分主要通过对不同时期代表性作家作品的分析研究，在纵向上论述了汉代七言诗在汉代不同时期的发展；七言谣谚及其它七言韵语，对于全面认识汉代七言诗，也具有一定的意义。 第二部分，汉代七言诗探源。文章在总结分析前人研究的基础上，对先秦相关文献作了具体研究。指出了屈骚、成相杂辞等对汉代七言的影响及其转化为七言的可能性。论文联系汉代七言诗的文化背景，认为汉代七言诗的直接源头，就是楚地歌谣。其它相关作品，对汉代七言诗的形成与发展也有直接或间接影响。 第三部分，汉代七言诗体的流变。从七言诗体本身的纵向发展来看，可分前后两期。前期为魏晋时代，是汉代七言体的沿袭，七言诗在沿袭中走向华美。后期为南北朝时代，七言诗体取得了重要突破，即隔句押韵的七言体出现、发展，为唐代七言诗的繁荣打下了坚实的基础。更多还原

【Abstract】 Previous studies on seven-character-line poetry are chiefly focused on its source. This thesis, which makes a more systematic and comprehensive study on seven-character-line poetry at its beginning stages of the Han Dynasty on the basis of previous researches, consists of three parts.Part One is textual research of seven-character-line poetry in the Han Dynasty. After a general discussion on seven-character-line poetry of the Han Dynasty, it has a comparatively systematic study on different kinds of seven-character-line poetry, such as seven-character-line of Chu folk song style, of inscription on bronze mirror in the Han Dynasty, of intellectuals, and seven-character-line folk songs and proverbs. Seven-character-line poetry of Chu folk songs style does not have its regular pattern yet. But since it gets its momentum between the Han Dynasty, and it was spread widely, holding a high position, its rhythm and rhyme are the same as other seven-character-line poetry, so it imposes a great influence on the development of seven-character-line poetry. Its heavy lyrical tone lays the basis for the lyrical feature of intellectual seven-character-line poetry. As to seven-character-line poetry of inscription on bronze mirror in the Han Dynasty, this section makes a comprehensive discussion on its thoughts, its development process, spreading regions, and its characteristics on the basis of the conviction that it can be called poetry. In the section of intellectual seven-character-line poetry, a diachronical discussion is devoted to the development of seven-character-line poetry at its different phases in the Han Dynasty through the analysis of work of representive writers in different periods of the Han Dynasty. Seven-character-line folk songs and proverbs and other forms of seven-character-line verse are of great significance to a thorough understanding of seven-character-line poetry of the Han Dynasty.Part Two trances back to the source of seven-character-line poetry of the Han Dynasty. On the basis of previous study, it makes a specific one on the corresponding documents of the pre-Qin Dynasty period. It points out the influence of both Qu-sao and ChengXiangZaCi on seven-character-line poetry in the Han Dynasty as well as the possibility of changing them into seven-character-line poetry. Set in the cultural background of seven-character-line poetry in the Han Dynasty, Chu folk songs can be regarded as the direct source of seven-character-linepoetry of that period, while the other works have direct or indirect influence on its formation and development.Part Three deals with the evolution of seven-character-line poetry of the Han Dynasty. Historically, the evolution can be devided into the earlier and later periods. The earlier period refers to the Wei and Jin Dynasties, and it is the imitation period of seven-character-line poetry of the Han Dynasty, during which the poetry developed into its goregous style. The later period refers to the Northern and Southern Dynasties.The breakthrough in form of seven-character-line poetry of the Han Dynasty, that is, the emergence and development of rhyme pattern in every other line, lay a solid foundation for the prospery of seven-character-line poetry of the Tang Dynasty.更多还原