摘要
汉语诗歌的发生可以追溯到《吕氏春秋》记载的《燕燕歌》和《候人歌》,它们分别作为“北音之始”和“南音之始”,不但从神话学角度记载了诗歌发生的不同地理位置,同时也在寥寥数字中留下汉语诗歌不同发生状态的若干信息。前者在两两句读组合中有一叠词,使得语音体现出明显的节奏;后者四字之内有两个语气助词,从而初步形成语音曲线,是为旋律的萌芽。节奏更具有公众性而旋律则来自于个体时间体验,《候人歌》具有相对明确的作者,是创作个体在等待过程中对于生命之体验和呈现,此为“止于心上”,《燕燕歌》是对于自然和历史事件的记载,实现了“诗言志”的记忆功能。这些音乐信息同样反映在《诗经》和《楚辞》之中,《诗经》多为民歌且节奏明显,《楚辞》则为文人作品,其整体语音过程具有较强的旋律性,而旋律的内在实质则是对于时间的独特体验和直观呈现。汉语诗歌在作者、节奏模式、诗歌主要表述对象等方面的特征和差异,在汉语诗歌发生神话中已经有所体现,并通过特定音乐信息昭示出歌唱主体的时间体验和流逝过程。
The occurrence of Chinese poetry can be rooted to Song of Waiting and Swallow Song recorded in Lushi Chunqeu, which are regarded respectively as the genesis of the northern poetry and the genesis of the southern poetry of ancient China. They not only record from the fable angle the different geographical locations of poetry occurrence but also leave some information of Chinese poetry＇s different occurred condition with a few of words. Swallow Song is reiterative locution, which brings obvious rhythm in the sentence, while Song of Waiting contains two syllables of tone which forms curve of the sound and germinates melody. Rhythm is the more public element in musical, while the melody is more private experience, which can be proved by the poets of the poems. Song of Waiting has a specific singer, the melody comes into being from the process of waiting when time rolling around, at this point the poetry is the something being perceived incessantly in the mind. Swallow Song is a record of natural and historical events. Such differences are also reflected in Shi Jing and Chu Ci, and go down to folk songs and production composed by literary figures in Chinese history. So the different musical massages contained in the two pieces of the ancient poems in the fables display the diversity in Chinese poetry, configuration and the ways of apperceive.
出处
《徐州师范大学学报（哲学社会科学版）》
2006年第3期37-41,共5页
Journal of Xuzhou Normal University(Philosophy and Social Sciences Edition)
基金
国家社科基金(项目号04czw006)中期成果
国家985科学
人文与艺术研究基地成果
