数字层递与元曲创作

Numerical Climax and Creation of Opera in the Yuan Dynasty

披读《全元曲》发现,元曲作家好用数字,尤好用数字层递。特别是高文秀、马致远、吴昌龄、郑光祖和赵善庆等,极尽运用之能事。而这一现象,鲜有关注,今特辑出典型例句,以探究竟。层递,常从时间、空间、数量、程度或范围着眼,而元曲作家运用的数字层递,更着眼于时间、数量,在运用时独创一格,独具匠心。或着意时间,张扬清新美,跃然纸上;或用力数量,凸显层次美,踏石成印;或逐步递升,呈现渐进美,波澜壮阔;或参差变化,透出对称美,身心律动;或借助谐音,拓展意蕴美,淋漓尽致;或倒换语序,示现音韵美,铿锵有力;或上递下接,彰显篇章美,吸引眼球。

The opera writers in the Yuan dynasty preferred to use numbers in their writings,especially numerical climax,such as Gao Wenxiu,Ma Zhiyuan,Wu Changling,Zheng Guangzu and Zhao Shanqing,who were experts in the application of this rhetorical device.However,little attention is paid to it.The research of climax is generally approached from the perspectives of time,space,number,degree or scope,while from the typical examples collected from the Complete Works of Yuan Opera,it can be seen that the numerical climax used by the writers mainly focuses on time and number with its own characteristics,whose rhetorical effects are explored in depth.