从骚体诗情感节奏特征看《楚辞》与七言诗的关系

Relationship between Chuci and Seven-character Regulated Verses:From the Perspective of Affect Rhythm of Lisao

关于《楚辞》与七言诗关系的观点甚多,但研究思路中都有将文体起源简化为句式异同及偏重文体外部关系的倾向,有明显的片面性。诗歌文体应是由多层次节奏相互作用构成的有机整体,情感节奏与语义节奏、语体节奏的冲突和调整是诗体发展的内在动力。七言韵语在《楚辞》产生之时已经流行,但复杂的语法关系和语义节奏使其具有很强的表义倾向,并形成了与其语义节奏相统一的单调平直的每句韵式语体节奏,从文体内部阻碍了七言抒情诗体的发展。在《楚辞》体中,诗人借助以"兮"字和相关虚词构成的相对独立的情感节奏,较方便地实现了对每句韵式七言诗语义—语体节奏的整合与转化,形成了七言诗早期发展阶段的一种特殊的七言抒情诗体——骚体式七言诗。由此入手,有助于将二元对立式的七言诗起源之争转变为对七言诗发展历史的辩证分析。

There have been considerable views on the relationship between Chuci （The Poetry of the South） and the seven-character regulated verses, but all have simplified the style into sentence pattern variations and tended to be concerned with external relations, which have obvious one-sidedness. Poetic style should be an organic whole constituted from interaction among multi-layered rhythms; and the conflict and adjustment between affect, semantic, and stylistic rhythms are the internal impetus for the development of poetic style. That is, seven-character regulated verses have long existed before the production of Chuci; but the complicated grammatical relations and semantic rhythms enable them to have a strong tendency of meaning expression, and hence formed a unified rhythmic style and pushed forward the development of the seven-character regulated verses. That is, the poet by the style of Chuci took over the modal word xi to make up the rhythms and therefore conveniently realized the pattern of each line that contains seven characters, which is called the Lisao Style. That may help transform the debates on the origin of seven-character regulated verses into a dialectical analysis of its historical development.