摘要
"兮"字及其他语助词在先秦诗歌中的运用是一种较为普遍的现象,这与诗歌散体化的句式密切相关。屈原骚体"兮"字规整与突出的使用,是骚体突破四言句式、字数加长之后,使散体句式趋于诗化的一种表现。随着诗歌语言的骈偶化进程以及五言等诗体的不断实践,骚体句式本身具备了内在固定的节奏与规整的诗行,"兮"字因在句中作用的减弱而出现失落的现象,表现在唐前骚体句式上的变化就是无"兮"字句腰六言句式的大量使用以及骚体句式的驳杂。骚体"兮"字的表征作用及其限度,说明判断后世骚体不能唯"兮"是瞻,"兮"字固然是重要的表征,但不是唯一的标志。
The Chinese character 兮（xi） is an important representation of the Sao style,which even has become the only mark by which to judge the Sao style.In terms of the discussion about how xi was formed,it is necessary to pay attention to interpretation from three perspectives as follows：（1） the use of xi in pre-Qin ballads and The Book of Poetry;（2） the important language environment in which xi was creatively used in the prose-style language during the Warring States Period（475-221BC）;and（3） xi＇s musical feature and relevance found in such songs and verses as pre-Qin ballads,songs from The Book of Poetry and those from The Nine Songs in the Poetry of the South.The functional analysis of xi in Qu Yuan＇s representative work the Poetry of the South will naturally lead to the analysis of why xi was lost /omitted in verse composition in later dynasties.The change of the way of expression can be found mainly in these two aspects：（1） when xi is lost/omitted between the preceding 4-character line and the subsequent 4-character line,a 4-character（sentence） pattern is formed;（2） when xi is lost / omitted between the preceding 6-character line with a functional character in the middle and the subsequent 6-character one,a 6-character（sentence） pattern with a functional character in the middle is formed.With the functional weakening of xi,being compatible and flexible-two outstanding characteristics displayed in pre-Tang Sao-style sentence patterns find expression in the composing of Sao-style poems,in which 3-character,4-character,5-character,6-character and 7-character poetic lines were used together with their corresponding Sao-style sentence patterns.In conclusion,xi is an essential representation of the Sao style,whether it is retained or lost in verses.The correct interpretation of the internal change in Sao-style sentence patterns can distinguish the original Sao-style verses from those composed in the subsequent dynasties.
出处
《浙江大学学报（人文社会科学版）》
CSSCI
2008年第5期84-91,共8页
Journal of Zhejiang University:Humanities and Social Sciences
基金
国家社会科学基金资助项目(08BZW021)
浙江省哲学社会科学规划重点资助项目(06CGWX02Z)
关键词
骚体
表征
限度
骚体句式
the Sao style
representation
limit
Sao-style sentence patterns
