诗歌句式论文：汉代乐府诗中三言句式的源流及诗体意义.docVIP

诗歌句式论文：汉代乐府诗中三言句式的源流及诗体意义 【中文摘要】三言句就是三个字的诗句，在上古典籍及民间歌谣中就已出现。汉人好楚风的诗歌审美风尚、异族音乐的传入、民间歌谣的影响是促使三言句在汉代走向兴盛、成熟的时代因素。先秦作品中三言句的运用，也为三言句在汉代的流行提供了可借鉴传承的基础。借鉴“韵律构词法”和“句末休音”理论来对三言句的句格特点与节奏特点这一关乎三言句本质属性的问题进行解析，可以看出，作为超韵律词，三言句具有两个节奏单位不对称、意义节奏与语音节奏可能出现分离、具备句末休音等特征，这些特征决定了三言句较偶字句和五、七言长句具有不同的句式特性。三言句在汉乐府诗歌中有构成连续叠用的句组及穿插在杂言诗中两种存在形式。汉乐府郊庙歌辞含有大量连续叠用的三言句，节奏显得短促而缺乏变化，运用顶真、反复、对偶、排比等修辞手法形成了自然的章节感和用语特色；穿插于杂言诗中的三言句起到了调节诗体节奏与语势，领起或收束全篇，增强诗歌的音乐性，使诗歌更适宜于吟唱等作用。汉乐府中的三言句与音乐也有密切的联系，这表现在不同体裁的汉乐府诗由于所配音乐类型及其来源的不同，三言句的使用情况也不尽相同。三言句的音乐性通过顶针修辞、与其他句式的组合以及三言句本身的组合运用体现出来。三言句相当于五言句、七言句的三字尾，这从三言句对七言句节奏形成的重要影响中可以找到历史渊源，五言句二三诵读节奏的形成与民间杂言歌谣的语言节奏也有着密切的联系。三言句在汉乐府诗歌中的运用在后代的各体诗歌中得到了继承和发扬，在后代新乐府、词、曲、对联等文学样式中都有独具特色的运用。 【英文摘要】Three-sentence statementis three-word poem that appeared in old scripturesand non-governmental chant.Three time factor caused growth and mature ofThree-sentence statement which included people like Chu style, introduction ofdifferent music and influence of non-governmental chant. The development ofThree-sentence statement in pre-Qin works also caused its fashionable in Handanasty.Analyze syntactical structure and cadence of three-sentence statement by揚rosodic Morpholopy攁nd揷aesurae?we believe that three-sentence statementare different from double-word verse,five-sentence statement and seven-sentencestatement in syntactic that as super-prosodic words ,it has characteristics: twodissymmetric metrical period; meaning and voice rhythm that may separatelyand caesural in the end of one single verse.Two forms of three-sentence statement: continuous repeated use in HanDynasty Poetry and interlude in mixed verse . Sacrifical rites of the HanDynaSty were consisting of plenty of continuous repeated use three-sentencestatements,it has short and less-change rhythm which has natural chapter andsyntax characteristic by rhetorical effects.However, three-sentence statementinterluded in mixed verse which regulated rhythm and energy in language thatleading or ending the whole poem which to increase the musicality