汉语音节诗节奏论

On the Rhythm of Chinese Syllable Poetry

当今新诗格律理论有两种体系令人瞩目,一是以闻一多为主的顿数整齐理论,实为音步节奏体系节奏模式;二是林庚的半逗律理论,实为音顿节奏体系的节奏模式。许霆"意顿"的发现,证明顿数整齐论的音步体系节奏模式并不符合汉语语音特色,是一种错误的理论,唯有林庚音顿体系的半逗律诗体才是符合汉语语音特色的正确节奏模式。本文沿着林庚的研究方向,试图构建符合自然朗诵且体式远比林庚半逗律诗体丰富多姿的"意顿"式节奏模式诗体。法文音顿诗体又称"音节诗体",为了与国际接轨,汉语诗歌也采纳这一术语。

Nowadays, the metrical theory of Chinese new poetry has two kinds of remarkable systems. One is the neat theory of the semantic pause mainly represented by Wen Yiduo, which is actually the rhythmic pattern of the sound foot system rhythm. The other is Li Geng’s theory of the big pause, which is actually the rhythmic pattern of the syllable-pause system. The“semantic pause”discovered by Xu Ting proves that the sound foot system rhythm of the neat theory of the semantic pause is not consistent with Chinese phonetic features, which is a wrong theory.It is only Li Geng’s poetic style of the semantic pause system that conforms to the correct rhythm mode of Chinese phonetic features. Based on Li Geng’s research, this paper attempts to construct the poetic style, which complies with the natural reading style and is far more colorful than Li Geng’s big-pause poetic style of the“semantic pause”rhythmic pattern. French syllable-pause poetic style is also called“syllable poetic style”. Likewise, Chinese poetry adopts this term in conformity with the international standard.