重探林庚的“半逗律”和“典型诗行”理论

Revisiting Lin Geng′s Theory of″Semi-Pause Law″and″Typical Poetry Lines″

在中国现代诗人努力重建中国新诗格律诗体的背景下,林庚自20世纪30年代以来就一直在探寻能被广泛运用的格律诗节奏模型。经过长期的诗歌实践和对中国古典诗歌形式的回顾与总结,林庚提出了“半逗律”和“典型诗行”的格律理论。林庚的探索过程和研究路径具有重要意义,“半逗律”与闻一多的“音尺”说及卞之琳的“参差平衡律”既有联系也有区别,但“半逗律”对中国古典诗歌艺术形式的归纳是不完全的,运用于新诗也存在过于严苛的问题,节奏划分上有较大的主观性,这使得“半逗律”无法成为约定俗成、广为大众认可的格律模型。

Lin Geng has been exploring the metrical model that can be widely used in modern Chinese poetry since the 1930 s.After long-term practice,reviewing and summarizing the forms of Chinese classical poetry,Lin Geng proposed his metrical theory of″semi-pause law″and″typical poetry lines″.By sorting out and reviewing Lin Geng′s exploration,this paper discusses the connection and difference between Lin Geng′s″semi-pause law″,Wen Yiduo′s″foot″theory and Bian Zhilin′s″irregular balance rule″.The findings show that Lin Geng′s law is not a complete generalization of the form of classical Chinese poetry,and there are problems when it is applied to modern Chinese poetry.Besides,The rhythm division of his law is highly subjective,which makes it unable to become a conventional and widely recognized metrical model.