本文選題：七言　切入點(diǎn)：歌行　出處：《文學(xué)遺產(chǎn)》2017年04期

【摘要】：正《文學(xué)遺產(chǎn)》2016年第2期發(fā)表張培陽(yáng)《論七言轉(zhuǎn)韻律體的體制特征》一文(以下簡(jiǎn)稱張文)。文章篇幅很長(zhǎng),也下了很大功夫,筆者很欣賞這篇文章,但主張慎用"轉(zhuǎn)韻律體"概念。張文摘要云:"元明以來(lái)所說(shuō)‘歌行’或‘七言古詩(shī)’,有些確為古詩(shī),有些則為律體。"于是有"七言轉(zhuǎn)韻律體"之稱,但"轉(zhuǎn)韻律體"的概念是不準(zhǔn)確的,或者說(shuō)是容易引起誤解的。
[Abstract]:The second issue of "Literary Heritage" in 2016 published an article by Zhang Peiyang on the Institutional characteristics of the Seven-character Rhythm (hereinafter referred to as Zhang Wen). The article is very long in length and devoted to a great deal of effort. The author appreciates this article very much. Zhang Wen, however, advocated careful use of the concept of "changing rhyme style". Zhang Wen said: "some of the ancient poems said since the Yuan and Ming dynasties, some of which are ancient poems, and some of them are legal ones." thus, he was called "seven-character to rhythmic style." But the concept of Rhythm is inaccurate or misleading.
【作者單位】： 河北大學(xué)人文學(xué)院;
【分類號(hào)】：I207.22

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