“掉字法”的历史梳理与审美内涵研究.pdf

第33 卷 第5 期 西安建筑科技大学学报（社会科学版） Vol. 34 No.5 2014 年10 月 J. Xian Univ. of Arch. Tech. (Social Science Edition) Oct. 2014 “掉字法”的历史梳理与审美内涵 张 静 （防灾科技学院，北京 101601 ） 摘要：“即从巴峡穿巫峡，便下襄阳向洛阳”“莫忧世事兼身事，且著人间比梦间”“座中醉客延醒客，江上晴云 杂雨云”等诗句，都使用了“掉字法”。这一诗法是在宋代被总结命名，或为“一句内二字相叠”，或为“当句对”， 清人翁方纲又名其为“连珠体”。但以清人冒春荣在《葚园诗说》名其为“掉字法”最有见地。其诗法主要特征 为复音词或词组在隔字叠的过程中掉换了一个字。它具有形式上的对称美、声音上的呼应美、记忆上的印证美与 意义上的强化美。 关键词：诗法；叠字；掉字法；历史梳理；审美内涵 中图分类号：I 207.2 文献标志码：A 文章编号：1008-7192(2014)05-0077-04 The Development Process and Aesthetic Connotation about “Diaozifa” ZHANG Jing (Institute of Disaster Prevention, Beijing 101601, China) Abstract: Many classical poetry verses use the figure of speech called Diaozifa(the rule of the partial changing reduplication in a sentence). This versification was named in Song Dynasty, as “reduplicating a word in one sentence”, or “the antithesis within the sentence”. It is referred to as the string style by Wong Fanggang in Qing Dynasty. In Shenyuan Shishuo of Qing Dynaste, Mao Chunrong gave it the name “Diaozifa” most insightfully. The main feature of the versification is to change one character of disyllabic words or phrase in every other reduplication. With a symmetrical form and beautiful echoing voices it can prove the confirmation in memory and strengthen the meaning in context. Key Words: versification; reiterative locution; Diaozifa; historical carding; the aesthetic connotation   在古典诗歌中，有一种字法很受欢迎，例如杜 用于前后散句，而郑谷用于中间对联。荀鹤诗云： 甫《闻官军收河南河北》：“即从巴峡穿巫峡，便下 “文星渐见射占星”“非谒朱门谒孔门”“常仰门风 襄阳向洛阳”、韩愈《潜兴