浅析迦梨陀娑《鸠摩罗出世》前八章的诗律结构

On the Metrical Structure of the First Eight Chapters of Kālidāsa's Kumārasambhava

在现存公认的迦梨陀娑四部诗歌中,取材湿婆神话的叙事长诗《鸠摩罗出世》是代表其诗艺纯熟的典范之作。前人多从思想主题、语言特色等层面对其进行考察,而本文着重研究《鸠摩罗出世》前八章韵律上的结构特点,并以之与迦氏的另外几部诗作进行比较分析,揭示其内在的逻辑和发展轨迹。作为传统意义上的"大诗",《鸠摩罗出世》显示出作者不仅能恪守印度古典诗论的繁细要求,而且还能熟练选用驾驭多达十余种不同的诗律;同一种诗律不仅能被用于不同场景的叙事或描写,而且章与章之间诗律的转换又能颇为自然地顺应情节发展和主题演变的需要,使内容和形式达到完美的统一;此外,诗人一改以往对繁缛诗律的偏好,有意回避滥用长律。这些都说明迦梨陀娑处理不同的题材,在不同的创作阶段,使用诗律也显示出不同的特点,而创作《鸠摩罗出世》时的迦梨陀娑诗歌艺术水平已臻巅峰。

Kfilidstsas Kumsrasambhava as an epic on the myths of ？ iva is a masterpiece of highly artistic merits in his extant four works. It has been studied a lot both in Indian and West for several centuries, and these studies refer to many fields, such as its language, religion and subjects. This paper aims at analyzing the characters of the metrical stucture of the first eight chap- ters attributed to K6didstsa, and tries to compare them with those of KfilidCtsas other poetic works in order to reveal the inner logic and procession of Kfilidstsas writing. As a traditional mahstkstvya, Kumarasambhava reflects that the poet could not only totally observe the detailed terms regulated in Indian classical poetics, but also choose and apply different meters proficiently, which means that not only the same meter running through one chapter could be applied in narration or description of different occa- sions, but also different meters between chapters could be transferred smoothly according to plots and subjects. And furthermore, in Kumaasambhava the poet intentionally gave up abusing long meters which he preferred in .Rtusamhaa and RaghuvamSa. All of these undoubtedly attest that Katlidfisa at this time has reached the aoex of his 13oetrv creation.