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文艺理论研究

文艺理论研究 ›› 2022, Vol. 42 ›› Issue (3): 174-184.

• 古代文论与古代文学的理论研究 • 上一篇    下一篇

初唐应制与七言近体 

刘顺   

  1. 黑龙江大学文学院

  • 出版日期:2022-05-25 发布日期:2022-06-27
  • 作者简介:刘顺，文学博士，黑龙江大学文学院教授，主要从事中古思想与文学研究。
  • 基金资助:
    本文系国家社科基金重大项目“语录类文献整理与儒家话语体系构建及传承的研究”[项目编号：20&ZD265]、黑龙江省教育科学“十四五”规划2022年重点课题“新文科背景下的‘魏晋—隋唐’文学史课程建设”[项目编号：GJB1422030]、2021年黑龙江省高校基本科研业务费黑龙江大学人文社科基地研究专项“中唐儒学与文学互动关系研究”[项目编号：2021-KYYWF-0140]的阶段性成果。

 Poetry under Imperial Order and Seven-Character Metrical Poetry in the Early Tang Dynasty

Liu Shun   

  1. the School of Chinese Language and Literature, Heilongjiang University

  • Online:2022-05-25 Published:2022-06-27
  • About author:Liu Shun, Ph.D., is a professor at the School of Chinese Language and Literature, Heilongjiang University. His research interests include medieval Chinese thought and literature.
  • Supported by:

    This article is supported by the Major Project of the National Social Science Fund (20&ZD265), the Education Science Key Project of the 14th Five-Year Plan of Heilongjiang Province (GJB1422030), and the Fundamental Research Fund for the Central Universities, HLJU (2021-KYYWF-0140).

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摘要：

语言学条件的成立与语体的雅化是古典诗歌特定诗体流行的前提与助援。“四字句”的成立是七言成体的语言学前提，也是依赖“二二”节奏的四言诗最终衰落的要因。而应制对于七言的语体提升则是七言迅速发展的重要推动。七言近体之所以能够与五言近体并立，自语法层面而言，七言能够强化殊相，利于拓展写景、言情、论理的表现空间，且更具语法密度；于韵律层面，七言“上四下三”结构所形成的表现功能，则较五言更具修饰性，情感表现的层次与空间亦更为丰富。

关键词:

七言近体, 语体, 应制, 语法结构, 韵律结构

Abstract:

Linguistic conditions and the refinement of language style are the prerequisite and facilitator for the popularity of specific poetry styles in Chinese classical poetry. The formation of four-character sentence was the linguistic prerequisite for seven-character poetry, and was also the fundamental reason for the decline of four-character poetry relying on “two-two” rhythm. The improvement of seven-character style resulted from imperial order was an important impetus for the rapid development of seven-character poetry. The grammatical reason behind the parallel between seven-character poetry and five-character poetry highlighted their difference, making seven-character lines more suitable to write about scenery, emotion and argument because of its representation space and grammatical density.  In terms of prosody, the “four-three” structure of seven-character line formed an expressive feeling that was more decorative and explicit than five-character sentence.

Key words:

seven-character metrical poetry,  style,  poetry under imperial order,  grammatical structure, prosodic structure