论七言律之句法——以陈三立七律为中心之考察

On the Syntax of Septasyllabic:An Examination with Chen Sanli's Septasyllabic as the Center

将陈三立置于古典诗歌创作链条之末,考察其七律句法之运用,对于深入认识传统七言律之创作艺术有重要价值。陈三立七律好用倒装,每能于一句中之第七字精心安置,以收拗峭劲健之效。复以文为诗,律句节奏多样,已能化七言律句上四下三板滞之格,使其有开合动荡之姿。亦擅使虚字,其七律所用虚字词性多样,于语助类协调语音之外,复能贯诗之情愫,渲染诗境。其虚字使用臻于极致者,往往能见其性情。其对仗于流水、开合、倒挽三法之外,复有少量巧变对以见其才思,畅其诗律。而其对仗之主导形式则极富对比色彩,举凡情景、事景、巨细、远近、正反、今昔、视听、人我、有无、盛衰、时空、冷暖、虚实相对诸种,于规避对偶太切所致之语气凝滞外,皆能以出对句之反差性,于诗境中引入更多元素,扩其容量,使诗境得以有开合之貌。

It is of great significance for understanding traditional septasyllabic writing skills to place Chen Sanli at the end of the chain of classical poetry and study the use of syntax in his septasyllabic. Chen Sanli likes to use inverted sentences in his septasyllabic, carefully choosing the seventh word in order to twist and make strong effect. And he also uses prose style in his septasyllabic to make sentence rhythm diversified, which is able to achieve the effect of flexibility. He is also good at using a variety of function words to co- ordinate voice, get through the emotion, heighten the poetic atmosphere and display his temperament. Besides the three basic kinds of antithesis, there are a small number of delicate antitheses which show his imaginative power. The main style of his antithesis is of very rich contrasted color, such as images and matters versus emotion, big and small, far and near, pros and cons, past and present, audio-visual, others and oneself, rise and fall, spatio and temporal, actual and relative, which can introduce more elements to the sep- tasyllabic to expand its capacity.