《蝶恋花》声律分析--以周邦彦《蝶恋花》为研究中心

An Analysis of Voice and Rhyme--Taking Zhou Bangyan's Die Lian Hua as a Research Center

《蝶恋花》词牌在词史上流通广泛,历来许多词家均填过《蝶恋花》,其中不乏脍炙人口之作,尤其在北宋时期无论在数量上或创作水平上均达到颠峰。词不同于诗,可以倚声入乐,很多词人于音乐上皆有相当高的修为,尤其历来评价妙解声韵者,北宋当推周邦彦、南宋则推姜夔,有鉴于此,本文欲以周邦彦的《蝶恋花》为轴,审其声律是否伏藏机巧?并列出北宋八家词人的《蝶恋花》与之相较,欲探《蝶恋花》在北宋的开展轨迹,以及周邦彦的声律运用放诸于其同时代词家的作品中所呈現的特点。

Die Lian Hua poems have been widespread in the history of ci.Chronologically,many ci writ⁃ers have filled in Die Lian Hua,and many well-known works are notable among them.Particularly,both the quantity and the creativity of ci reached a peak in the Northern Song dynasty.Ci is different from poetry as it is filled into the music through the given tunes of sound.Many poets have a high level of cultivation in music,es⁃pecially those who have distinctive comments and refined perspectives on the phonological rhyme.For exam⁃ple,Zhou Bangyan is the primary figure of ci in the Northern Song dynasty,and Jiang Kui is the representative ci writer of the Southern Song dynasty.Therefore,this article attempts to take Zhou Bangyan's Die Lian Hua as the focus of study to examine whether its vocal rhythms is ingenious.It also lists the Die Lian Hua by eight po⁃ets of the Northern Song dynasty for a comparative study,which discusses the development of Die Lian Hua in the Northern Song dynasty and Zhou Bangyan's characteristic use of rhythms in the works of his contempo⁃raries.