东坡长调慢词的用调成就与声律特征

On Tune Achievement and Prosodic Feature of Dong-po’s Slow Tune

东坡长调慢词的创作在用调上的特色与建树主要表现在三个方面:首先,东坡创制了《贺新郎》这一慢词长调,并使之成为两宋词坛的“金曲”之一;其次,东坡还首次采用了《哨遍》《醉翁操》《三部乐》这3个慢词长调,或采自大曲,或为琴曲填词,亦颇著创新探索之功;其三,东坡还创造性地采用了《水调歌头》《念奴娇》《满江红》《沁园春》等13个北宋前期尚属新声的慢词长调,偏向于选择和掘发那些高亢之调、清越之声,对宋代慢词长调的繁衍和豪放词风的兴盛做出了开拓与贡献。东坡长调慢词在声律上亦颇有建树:其一,东坡词创调与首见的慢词长调在声律上具有相当的典范性;其二,东坡对长调慢词体式的突破也是符合声律规则的;其三,东坡在慢词长调的运用上也表现出声律精严的一面。

The characteristics of Dong-po's slow tune achievement lie in the following 3 aspects: First, Dong-po created the slow tune of Congratulating Bridegroom, which became one of the best tunes in Song Dynasty;Secondly, Dong-po firstly adopted 3 slow tunes of Shao Bian, Zui Weng Cao and San Bu Le, either from Daqu or from lines of lute songs, with credits of innovation in his honor;Thirdly, Dong-po creatively adopted 13 slow tunes that was new in early Northern Song Dynasty, such as Shui Diao Ge Tou, Nian Nu Jiao, Man Jiang Hong and Qin Yuan Chun, etc, with a preference to the choice and development of high tunes and crisp voices, contributing a lot to the development of slow tune and the popularity of bold and unstrained style in Song Dynasty. The prosodic features of Dong-po's slow tune lie in the following 3 aspects: First, Dong-po's slow tune was a model in prosody;Secondly, the breakthrough made by Dong-po in slow tune style was conforming to prosodic rules;Thirdly, Dong-po's slow tune showed carefulness and accuracy.