从五排的铺陈节奏看杜甫长律的转型

The Transition of Du Fu's Odes: From the Narrative Rhythm of Five-Syllable Verse

杜甫的五排在传统五排体制的基础上,从韵数和题材风格区分出以六韵体为主的较短篇幅和十韵以上较长篇幅两种类型,而倾力于初盛唐诗人极少创作的长篇排律。他不仅借干谒、颂美、酬赠等传统题材实现了述怀、讽喻、刺时的功能渐变,更在后期的长律中,从诗题到内容都完成了变台阁体为咏怀诗的彻底转型。与此同时,他充分运用排律铺陈终始、排比声韵的表现元素,以变化多端的罗列方式构成横向的铺陈节奏,同时巧用多层次、多角度反复对照的句式,形成开合顿挫的章法变化,以双管齐下的笔法开创出长律的独特结构。从而突破了传统排律表现功能的种种局限,并在表现原理上形成与五古长篇迥然各异的鲜明特色。

Du Fu＇s five-syllable poems are based on the traditional five-syllable pattern; on aspects of length and style,they can be divided into two kinds： one of six-line and the other of over ten-line,the latter of which was rarely seen in the early Tang poetry but was Du＇s favorite. From traditional poetic subjects of ganye（ poem presented to the nobility as self-recommendation）,songmei（ praise）,and chouzeng（ reciprocation）,he made a gradual subject transition to shuhuai（ express one＇s feeling） and political allegory. Moreover,in his later odes,he achieved a complete transition from taigeti（ a fixed official style of elegant subject） to feeling-reciting poetry. Meanwhile,creative skills can be found in his works： constant circumlocution and syllable parallelism,variant arrangement of transverse narrative,and multi-layered juxtaposition. These worked to shape his poem into a special two-way narrative structure and vigorous and profound composition. Therefore he broke the limitation of traditional regulated verse,and made his odes distinctively contrasted with the old five-syllable verse in expressive forms.