| 题名 |
李漁《閒情偶寄》崑腔音韻度曲論析探 |
| 并列篇名 |
A Study of the Theory of the Duqu with Kunshan Accent in Xian Qing Ou Ji by Li Yu |
| 作者 |
李惠綿(Li Huei-Mian) |
| 关键词 |
李漁 ； 《閒情偶寄》 ； 音律 ； 音韻 ； 崑腔 ； 度曲 ； Li Yu ； Xian Qing Ou Ji ； tonality and rhythm ； rhyme ； Kunshan Accent ； Duqu |
| 期刊名称 |
輔仁中文學報 |
| 卷期/出版年月 |
50期（2020 / 06 / 01） |
| 页次 |
89 - 119 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
明末清初李漁（1611－1680）《閒情偶寄》主要以崑山腔搬演的傳奇劇作為論述對象，其「詞曲部」以「結搆、詞采、音律、賓白、科諢、格局」六大要素建構傳奇創作理論，其中「音律」列為第三，細分九個子題。李漁論音律的核心與崑腔音韻度曲有緊密關聯，故本文以此切入論題。李漁概括詞家所重音律有三：「首嚴宮調，次及聲音，次及字格。」意即以宮調嚴明為首要；其次是聲音協和，講究平仄、陰陽、叶韻等；再次是字格合律，亦即謹守曲牌格律。歸納李漁論音律，係以「合譜、合韻」統攝。屬「合譜」有〈凜遵曲譜〉、〈拗句難好〉兩個子題；屬「合韻」有七個子題：〈恪守詞韻〉、〈魚模當分〉、〈康監宜避〉、〈合韻易重〉、〈慎用上聲〉、〈少填入韻〉、〈別解務頭〉。從篇幅比例之落差，可知李漁提出詞家所重三者之中，在「聲音協和」方面著力最深。李漁論音律九個子題中，除〈慎用上聲〉、〈少填入韻〉，其餘明代曲家皆已論及，本文恰可沿波討源，觀察李漁聚焦於「音律論」體系之下，運用音韻闡釋製曲對度曲之影響，李漁偏重音律不合譜、不合韻對度曲產生的負面影響。換言之，李漁是從「聲音協和」的效果斟酌填詞作曲的原理原則，呼應「聲音協和」比「宮調嚴明、字格合律」難度更高的論述。李漁論音律別於周德清《中原音韻．作詞十法》和王驥德《曲律》以創作論為核心，而是偏重填詞製曲影響聲情的體現，從而開展清代崑腔音韻度曲論的新局，自有一席之地。 |
| 英文摘要 |
Xian Qing Ou Ji, written by Li Yu (1611-1680) in the late Ming and early Qing, mainly analyses the Chuanqi Drama performed with Kunshan Accent. The Words (Ci) and Music (Qu) Department of it constructed the theory of creating the Chuanqi Drama with six key elements: composition, literary grace, tonality and rhythm, spoken parts, buffoonery, and structure. The third element, ＂tonality and rhythm＂, includes nine subtitles. Li Yu's analysis of the tonality and rhythm is highly interrelated with the Duqu with Kunshan Accent. Therefore, this paper starts with his analysis. According to Li Yu's summary, there are three fundamental principles of the tonality and rhythm that songwriters value: ＂Modes of music first, voice and sounds second, patterns of rhyme last.＂ It means that, first, modes of ancient Chinese music should be clear and definite; second, voice and sounds (Ping and Ze, Yin and Yang, and Xie Yun, etc. ) should be harmonious; third, every character should strictly fit with the rhythm of Qupai to which Qu are composed. His analysis of tonality can be sum up as governed by the rule of ＂fitting with the music score (Pu) and the rhyme (Yun)＂, with the former including two subtitles and the latter seven subtitles. According to the difference of the proportion of the length, it is reasonable to infer that Li Yu put the most stress on the ＂harmony of voice and sounds＂ among the three fundamental principles that songwriters value. Experts in music (Qu) in the Ming dynasty have already discussed all the subtitles of Li Yu's analysis on rhythm except these two: ＂be cautious to use the Shang tone＂ and ＂use less Ru rhyme＂. Therefore, this paper can trace and discuss its origin by observing the influence of Li Yu's interpretation of the creation of words (Ci) and music (Qu) with the rhythm focusing on the system of ＂the theory of tonality and rhythm＂. Generally speaking, Li Yu weighs and considers the principles and rules of composing Qu from the perspective of ＂the harmony of voice and sounds＂ to echo the exposition that ＂the harmony of voice and sounds＂ is harder to achieve than ＂the clarity of modes of music＂ and ＂the fitness of the character to the rhythm＂. Li Yu's analysis of tonality diverges from ＂The Ten Ways of Ci Writing＂ in Zhongyuan Rhythm by Zhou Deqing and Rules of Qu (Qu Lv) by Wang Jide in that the latter two are centered on the theory of creation, but the former lays particular stress on the impact of the creation of words (Ci) and music (Qu) on expression in singing, thus opening up the new prospect of the theory of the Duqu with Kunshan accent and establishing its reputation by earning a space for itself. |
| 主题分类 |
人文學 >
語言學 人文學 > 中國文學 |
| 参考文献 |
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