本文選題：領(lǐng)字與慢詞藝術(shù)特征 + 慢詞節(jié)奏��； 參考：《北京大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版)》2017年04期

【摘要】：領(lǐng)字歷來被視為探究詞藝術(shù)特點(diǎn)的極佳切入點(diǎn)。領(lǐng)字的使用給慢詞帶來了節(jié)奏、句法、結(jié)構(gòu)的重大創(chuàng)新。領(lǐng)字主要有一、二、三、四字四種,而一字領(lǐng)和三字領(lǐng)使用尤為頻繁。在演唱吟誦的過程中,這兩種領(lǐng)字分別與不同數(shù)量的雙音、三音詞結(jié)合,并采用固定的頓歇和密集用韻,從而人為地將1+4、3+3、3+4三種散文節(jié)奏改造為詞中特有的詩歌節(jié)奏。在句法方面,慢詞中一、三字領(lǐng)普遍引領(lǐng)多句,從而催生了具有頭小尾大特征的主謂句群和題評(píng)節(jié)段。在領(lǐng)字所催生的各種創(chuàng)新之中,意義最為深遠(yuǎn)是慢詞結(jié)構(gòu)之質(zhì)變。嚴(yán)格地說,小令始終未能沖破詩體結(jié)構(gòu)的桎梏,詞是到了慢詞才發(fā)展出自己獨(dú)一無二的結(jié)構(gòu)。在以柳永所代表的早期慢詞之中,領(lǐng)字的作用從句法層次擴(kuò)展到結(jié)構(gòu)層次,每個(gè)領(lǐng)字和所領(lǐng)部分橫向地構(gòu)成一個(gè)主謂句群或題評(píng)節(jié)段,而所有領(lǐng)字又縱向地緊緊連成一串,一種立體的連環(huán)式迭加結(jié)構(gòu)便應(yīng)運(yùn)而生。這種結(jié)構(gòu)前所未有、后無來者,堪稱中國詩歌史上的一朵奇葩。在柳永之后,隨著領(lǐng)字的蛻變和消失,在詩體結(jié)構(gòu)影響回流的情況下,柳氏連環(huán)式迭加結(jié)構(gòu)又衍出二元體迭加、序列迭加結(jié)構(gòu)。柳永等人創(chuàng)立慢詞,深入挖掘領(lǐng)字的特殊功能,引入所有這些新穎的節(jié)奏、句法、結(jié)構(gòu),從而創(chuàng)造出比詩體和小令"文更繁而意更深廣"的詞境。
[Abstract]:The collar has always been regarded as an excellent entry point to explore the artistic characteristics of ci. The use of collar has brought great innovation of rhythm, syntax and structure to slow words. There are mainly one, two, three, four characters, and one word and three-word lead use is particularly frequent. In the process of singing and reciting, these two types of characters are combined with different numbers of dicyllabic and three-syllable words respectively, and adopt a fixed rest and intensive rhyme, thus artificially transforming the rhythm of 14 pieces of prose and 33 pieces of prose into the unique rhythm of poetry in the ci. In syntactic aspect, the first and third characters of slow words generally lead to multiple sentences, thus giving birth to subject-predicate sentence groups and comment paragraphs with big features of beginning and ending. Among all kinds of innovations, the most profound meaning is the qualitative change of slow word structure. Strictly speaking, Xiao Ling failed to break through the shackles of poetic structure. In the early slow words represented by Liu Yong, the role of the collar extended from the syntactic level to the structural level, each leading word and the leading part formed a subject-predicate sentence group or comment section horizontally, and all the collar characters were closely connected vertically. A three-dimensional serial superposition structure emerges as the times require. This kind of structure unprecedented, after no one, can be called a wonderful flower in the history of Chinese poetry. After Liuyong, with the change and disappearance of the leading characters, under the influence of the poetic structure, the Liu's serial superposition structure produced the binary superposition structure and the sequence superposition structure. Liu Yong and others created slow words, deeply explored the special functions of collar words, and introduced all these novel rhythms, syntax and structures, thus creating a more complex and profound poetic context than poetry and Xiao Ling.
【作者單位】： 香港嶺南大學(xué)中文系;
【基金】：香港研究資助局優(yōu)配研究金的資助(項(xiàng)目編號(hào)LU13400014)
【分類號(hào)】：H141

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