清人“三四拗救”说对唐近体诗律的误读

The Misinterpretation of Tang Metrical Poetry from"Violation and Rectification on the Third and Fourth Characters"in Qing Dynasty

明代平仄格谱与“二四六分明”口诀的出现奠定了明清近体诗律体系的基础,也将唐近体诗常用句式“平平仄平仄”排除在标准句律样式之外。为此,清代学者提出“四拗三救”与“三拗四救”两种方案以重建“平平仄平仄”及其衍生句式在唐近体诗中的合法性。然而,通过史论考辨与量化分析发现,清人“三四拗救”说存在理论上的局限。《全唐诗》中“平平仄平仄”的节奏以“2+3”为主,在削弱第四字节律地位、改变音节长短的同时延续了汉语诗歌平仄相间的审美追求,体现了句律节奏受语法结构与韵律传统的双重影响。“二四六分明”的归纳与“三四拗救”的补缀反映了明清学者在致力于建构统一诗学规范下对唐近体诗律的误读、规约与再造。

The appearance of the“ping-ze”tonal pattern and the“246-limit”formula in Ming Dynasty laid the foundation of the meter system in Ming and Qing Dynasties,and also excluded the commonly used sentence of Tang poetry“ping-ping-ze-ping-ze”from standard sentence patterns.Therefore,scholars in Qing Dynasty put forward two schemes of"3-violation-4-rectification"and“4-violation-3-rectification”to reconstruct the legitimacy of“ping-ping-ze-ping-ze”and its derivative sentence patterns in Tang modern style poetry.However,through historical discussions and quantitative analysis,it is found that there are theoretical limitations in these theories.In The Complete Collection of Tang Poems,“2+3”is the mainly rhythm of“ping-ping-ze-ping-ze”,which weakens the rhythm status of the fourth character and changes the length of syllables while continuing the aesthetic pursuit of the alternating“ping-ze”patterns of Chinese poetic syllables,reflecting the dual influence of grammatical structure and prosodic tradition on the sentence rhythm.The conclusion of“246-limit”and the revisal of“violation and rectification on the third and fourth characters”reflect the misinterpretation,regulation and reconstruction of Tang modern style poetry by scholars of Ming and Qing Dynasties under the cover of constructing unified poetics norms.