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《曲律》中的南曲格律论涉及平仄、阴阳、韵脚、宫调等项。王骥德在“为南曲建立独立格律”动机支配下 ,对当时南曲“引进”北曲格律论的作法予以了批驳 ,并结合南曲发展的历史实际及南方语音等具体因素 ,提出了较为体系的南曲格律理论。如关于入声字的独立地位和它在南曲中的重要作用 ,更丰富、细致的字声阴阳说 ,关于南曲用“南韵”理论主张 ,以及对南曲宫调的有关阐述 ,都与明代曲论界的“尚元”、“慕北”倾向相逆而行 ,具有自己的特点。力求南曲在格律和理论体系上的独立 ,使得王氏的南曲格律论呈现出极为鲜明的两大特色 :一是为了求得南曲地域性艺术特质的确立而对有关的北曲理论竭力反驳乃至攻击 ,使其理论显现出偏仄、主观而新异的色彩 ;同时 ,由于王氏又多从南曲的具体实际出发 ,所以其理论总体上又具有“实用”和“应时”的特点。
The “Nongqu” in “The Melody” refers to such items as flat, yin and yang, rhyme, palace and other items. Under the motive of “establishing an independent metrical pattern for Nanqu,” Wang Jide criticized the introduction of “Northern Song theory” in Nanqu at that time and put forward a relatively systematic approach based on historical development of Nanqu and the voice of the South Southern curve theory. Such as the independent status on the voice of the word and its important role in the Nankai, more rich and meticulous phonology Yin and Yang said that on the Southern Song with “Southern rhyme” theory, as well as the interpretation of the palace of the Southern Song Dynasty, both with The tendency of “Shang Yuan” and “Mu North” in the theory of music in the Ming Dynasty has its own characteristics. In order to make Nanchong’s independence in the metrical and theoretical system, Wang’s theory of Nanqu’s theory of law presents two distinctive features: one is to seek the establishment of the regional artistic feature of Nanqu Rebuttal and even attacks, make the theory show a subtle, subjective and new color; at the same time, since Wang more from the specific reality of the Southern Song, so its theory as a whole has a “practical” and “should be” Features.