长撷腰、长解镫:初唐节奏论与五言诗流变

Changxieyao and Changjiedeng: Prosodic Theory and the Evolvement of Five-Character Poetry in the Early Tang Dynasty

长撷腰的情况在六朝五言诗中较为常见,"二一二"的节奏句式是诗行构建的常用方式,是诗歌写作的主流。"二二一"句式经谢朓、何逊之后渐趋成熟,但在数量上仍处于弱势,故诗行之间缺少节奏变化。龙朔之后,长撷腰的情况开始改变,卢照邻、崔融、杜审言等人的五言长诗中对撷腰、解镫采取间而用之的手法,诗歌节奏变得更为流转。这与元兢提出长撷腰、长解镫之论相关。诗行之间的节奏关系开始受到人们关注,并且在诗歌实践中得以贯彻。故长撷腰、长解镫是五言诗发展流变中的一大关捩。

Changxieyao was a common prosodic phenomenon in the five-character poetry of the Six Dynasties. After the transformation by Xie Tiao and He Xun, the style of Changjiedeng became more mature, but the number of poems written in this style was still small, hence the lack of diversity in the prosody of poetry. Since 663 CE, the situation began to change: Lu Zhaolin, Cui Rong, Du Shenyan, among many others started to use Changjiedeng and Changjiedeng interchangeably in their five-character poems, which enriched prosody in poetic writing. This move was related to Yuan Jing’s theory of Changxieyao and Changjiedeng. Ever since, poets began to valorize the prosodic relation between lines and put it in practice. Therefore, Changxieyao and Changjiedeng were key to the development of five-character poems.