《九宫大成》所收【香柳娘】曲牌格律研究

On the Rhyme of Qupai "Xiangliuniang" Collected in Jiugongdacheng

南曲【香柳娘】曲牌自宋元时期起便被收录于多部南戏剧作中,至明清时期,【香柳娘】曲牌进一步流传与发展。《九宫大成》共收录【南吕·香柳娘】曲牌八支,不仅收录了元明南戏、传奇中的【香柳娘】曲牌,亦收录了清宫戏中的【香柳娘】曲牌。文章通过对此八支曲牌曲文格律的研究发现:宋元时期的【香柳娘】曲牌句式纷杂,差异较大;自元代起,【香柳娘】曲牌以《小孙屠》中的【香柳娘】曲牌句式为基础,由《小孙屠》中的九句扩充为十二句,并以曲文作叠与不作叠两种形态存在;至明清,曲牌板式结构亦分化为无衬板与添入衬板两种形态。曲文句式经历了由纷杂到逐渐齐整的演变过程,随着曲文句式的逐步统一,板式结构亦趋于稳定。

Ever since the Song and Ming Dynasties,NanquQupai "Xiangliuniang" had been collected in various Nanqu plays,and in the Ming and Qing Dynasties it was further spread and developed.Jiu gong da cheng collects eight Qupai of "Xiangliuniang",including not only the Qupai of Nanxi and Chuanqi in the Yuan and Ming Dynasties,but also the Qupai in the Palace plays of the Qing Dynasty.Based on the research on the rhyme of the eight Qupai,the present article finds that "Xiangliuniang" in the Song and Yuan Dynasties is more complicated and different;since the Yuan Dynasty,the Qupai,based on the pattern in Xiaosuntu,changes from 9 sentences to 12 sentences and exists in the two forms of repetition and non-repetition;in the Ming and Qing Dynasties,the rhythm pattern also divides into the two forms of non-accompany and with-accompany.The sentence pattern experiences the gradual change from the varied to the ordered.With the gradual unification of the sentence pattern,the rhythm pattern is also becoming stable.