乔吉散曲修辞艺术研究
摘要
乔吉是元代散曲大家,在散曲史上有很高的地位,后代曲家和评论家都对他评价很高。不只因为他创作的散曲数量多,还因其作品对后世散曲有较大影响。乔吉创作过程中总结出散曲写作的方法,在元代就已有一定影响。但是对乔吉的研究一直以来都主要是从文学的角度进行的,从修辞的角度对乔吉散曲的语言进行研究和系统论述的比较少。本文试图从语言修辞的角度入手,主要论述乔吉散曲中比喻,引用,叠字,鼎足对,俗语方言和“儿”缀六个富有特色的修辞手段,从而较为深刻地探讨乔吉散曲的语言风格及其形成的原因。
一、绪论。介绍乔吉的生平事迹、不同时代的评论家对乔吉散曲语言的评价,介绍当前乔吉散曲的研究概况,以及本文研究的意义和研究方法。
二、比喻。对乔吉散曲中的比喻按照喻体进行分类,主要分为两类:(一)用花、玉等前人诗词中常用的喻体作喻体;(二)用俗物、日常生活中的事物作喻体,并对他的修辞效果加以说明。乔吉散曲中运用了大量的博喻手法,博喻手法造成乔吉散曲恢宏恣肆的气势。
三、引用。引用包括引用史实和古语。笔者将乔吉散曲中的引用分为引用历史故事,引用神话传说,直接引用前人诗词中的词语、句子,化用前人的诗句几种形式。然后再对引用的特点进行分析,主要有两方面的特点:(一)引用数量多,来源广;(二)多引用熟悉的典故。
四、重叠。重叠是汉语特有的一种修辞手法。笔者首先对乔吉散曲中的重叠情况进行归纳、分析。然后从重叠构成的形象美和音律美两个方面分析乔吉散曲中重叠的修辞作用。
五、鼎足对。鼎足对是散曲中比较特殊的一种对偶形式。首先列举乔吉散曲中存在的鼎足对形式,主要有:三言鼎足对,四言鼎足对,五言鼎足对,六言鼎足对,七言鼎足对,八言鼎足对,九言鼎足对,十言鼎足对,十一言鼎足对。然后分析乔吉散曲的鼎足对的特点:(一)数量多、形式丰富;(二)将各种修辞手法溶于一“鼎”。
六、俗语方言。列举乔吉散曲中用到的一些俗语方言,并分析他们的意思。然后分析方言俗语在乔吉散曲中的修辞效果。
七、“儿”缀。“儿”缀具有浓厚的口语色彩,在书面语中“儿”一般都不写出来,但乔吉散曲中保留了大量的“儿”缀词。既体现口语色彩,又具有表情达意的作用。
八、结语。结语部分对构成乔吉散曲“文而不文,俗而不俗”语言风格的原因进行了回顾和总结。
Qiaoji is the Yuan Sanqu writer who has a high status in the Sanqu in the history, and future generations at home and critics have music in high regard for him. Not only because of his creative Sanqu quantity, but also because of their works have a greater impact on later Sanqu. Qiaoji summed up the creative process of writing Sanqu methods, has some influence on the Yuan Dynasty. But Qiaoji research has always been primarily from a literary point of view, from the rhetorical point of view of Qiaoji's Sanqu the language of research and systematic exposition of the relatively small. This article attempts to start from the perspective of rhetoric, the main discussion Qiaoji's Sanqu in the analogy, references, overlapping characters, tripartite balance right, saying dialect and the "er" decorate six distinctive rhetorical means, thus a more incisive study of the language of Qiaoji's Sanqu style of the reasons for their formation.
1.Introduction. Introduction Qiaoji's life story, different times of the critics Qiaoji's Sanqu language assessment, On current Qiaoji Sanqu Research, as well as the significance of this study and research methods, and "Rhetoric" to define the meaning.
2.Simile. The simile of Qiaoji's Sanqu according to a classification can be divided into two categories: (A) with flowers, jade and other predecessors body of poetry in the commonly used simile for body; (B) a vulgarian, everyday things as Metaphor, and his rhetorical effect to illustrate this. Qiaoji's Sanqu in the use of a large number of Bo Yu practices, Bo Yu practices cause Qiaoji's Sanqu magnificent Zisi of power.
3.Reference. References includ the reference to historical facts and old saying. Qiaoji's Sanqu references is divided into historical stories, myths and legends of reference to refer directly to their predecessors in poetry words, sentences of the verse with their predecessors in several forms. And then the characteristics of the application of this analysis have two major characteristics: (A) of quantity, sources is broad; (B) multi-reference familiar with the story.
4.Overlap. Overlap is a kind of Chinese-specific rhetorical devices. I will summariz and analyze Qiaoji's Verse of the overlap firstly. Then analyze overlapp in the image of beauty and temperament and two overlapp of Qiaoji's Sanqu in the role of rhetoric.
5.Tripartite balance right. Tripartite balance the more Sanqu pair is a special dual form. First, a list Qiaoji's Sanqu the tripardite balance of form exists in the main are: three words tripartite balance right, four words tripartite balance right, Cource tripartite balance right, six words tripartite balance right, seven-character tripartite balance right, eight words tripartite balance right, nine words tripartite balance right, 10 words tripartite balance right, 11 words tripartite balance right. Then analyzed Qiaoji's Verse of the tripartite balance of the features: (A) quantity, form a rich; (B) will dissolve in a variety of rhetorical devices, "tripod."
6.Dialect. List some dialects that commonly used in Sanqu, and analyze their meaning. Then analyzes the dialect saying the rhetoric in the Qiaoji's Sanqu effect.
7."Er" decorate. "er" is a strong oral infix color, in the written language of "er" generally do not write it, but Qiaoji's Sanqu retained a large number of "er" decorate the word.
8.Conclusion. Conclusion constitutes Qiaoji's Sanqu "text instead of text, vulgar but not bad" language style of the reasons were reviewed and summarized.
一、绪论。介绍乔吉的生平事迹、不同时代的评论家对乔吉散曲语言的评价,介绍当前乔吉散曲的研究概况,以及本文研究的意义和研究方法。
二、比喻。对乔吉散曲中的比喻按照喻体进行分类,主要分为两类:(一)用花、玉等前人诗词中常用的喻体作喻体;(二)用俗物、日常生活中的事物作喻体,并对他的修辞效果加以说明。乔吉散曲中运用了大量的博喻手法,博喻手法造成乔吉散曲恢宏恣肆的气势。
三、引用。引用包括引用史实和古语。笔者将乔吉散曲中的引用分为引用历史故事,引用神话传说,直接引用前人诗词中的词语、句子,化用前人的诗句几种形式。然后再对引用的特点进行分析,主要有两方面的特点:(一)引用数量多,来源广;(二)多引用熟悉的典故。
四、重叠。重叠是汉语特有的一种修辞手法。笔者首先对乔吉散曲中的重叠情况进行归纳、分析。然后从重叠构成的形象美和音律美两个方面分析乔吉散曲中重叠的修辞作用。
五、鼎足对。鼎足对是散曲中比较特殊的一种对偶形式。首先列举乔吉散曲中存在的鼎足对形式,主要有:三言鼎足对,四言鼎足对,五言鼎足对,六言鼎足对,七言鼎足对,八言鼎足对,九言鼎足对,十言鼎足对,十一言鼎足对。然后分析乔吉散曲的鼎足对的特点:(一)数量多、形式丰富;(二)将各种修辞手法溶于一“鼎”。
六、俗语方言。列举乔吉散曲中用到的一些俗语方言,并分析他们的意思。然后分析方言俗语在乔吉散曲中的修辞效果。
七、“儿”缀。“儿”缀具有浓厚的口语色彩,在书面语中“儿”一般都不写出来,但乔吉散曲中保留了大量的“儿”缀词。既体现口语色彩,又具有表情达意的作用。
八、结语。结语部分对构成乔吉散曲“文而不文,俗而不俗”语言风格的原因进行了回顾和总结。
Qiaoji is the Yuan Sanqu writer who has a high status in the Sanqu in the history, and future generations at home and critics have music in high regard for him. Not only because of his creative Sanqu quantity, but also because of their works have a greater impact on later Sanqu. Qiaoji summed up the creative process of writing Sanqu methods, has some influence on the Yuan Dynasty. But Qiaoji research has always been primarily from a literary point of view, from the rhetorical point of view of Qiaoji's Sanqu the language of research and systematic exposition of the relatively small. This article attempts to start from the perspective of rhetoric, the main discussion Qiaoji's Sanqu in the analogy, references, overlapping characters, tripartite balance right, saying dialect and the "er" decorate six distinctive rhetorical means, thus a more incisive study of the language of Qiaoji's Sanqu style of the reasons for their formation.
1.Introduction. Introduction Qiaoji's life story, different times of the critics Qiaoji's Sanqu language assessment, On current Qiaoji Sanqu Research, as well as the significance of this study and research methods, and "Rhetoric" to define the meaning.
2.Simile. The simile of Qiaoji's Sanqu according to a classification can be divided into two categories: (A) with flowers, jade and other predecessors body of poetry in the commonly used simile for body; (B) a vulgarian, everyday things as Metaphor, and his rhetorical effect to illustrate this. Qiaoji's Sanqu in the use of a large number of Bo Yu practices, Bo Yu practices cause Qiaoji's Sanqu magnificent Zisi of power.
3.Reference. References includ the reference to historical facts and old saying. Qiaoji's Sanqu references is divided into historical stories, myths and legends of reference to refer directly to their predecessors in poetry words, sentences of the verse with their predecessors in several forms. And then the characteristics of the application of this analysis have two major characteristics: (A) of quantity, sources is broad; (B) multi-reference familiar with the story.
4.Overlap. Overlap is a kind of Chinese-specific rhetorical devices. I will summariz and analyze Qiaoji's Verse of the overlap firstly. Then analyze overlapp in the image of beauty and temperament and two overlapp of Qiaoji's Sanqu in the role of rhetoric.
5.Tripartite balance right. Tripartite balance the more Sanqu pair is a special dual form. First, a list Qiaoji's Sanqu the tripardite balance of form exists in the main are: three words tripartite balance right, four words tripartite balance right, Cource tripartite balance right, six words tripartite balance right, seven-character tripartite balance right, eight words tripartite balance right, nine words tripartite balance right, 10 words tripartite balance right, 11 words tripartite balance right. Then analyzed Qiaoji's Verse of the tripartite balance of the features: (A) quantity, form a rich; (B) will dissolve in a variety of rhetorical devices, "tripod."
6.Dialect. List some dialects that commonly used in Sanqu, and analyze their meaning. Then analyzes the dialect saying the rhetoric in the Qiaoji's Sanqu effect.
7."Er" decorate. "er" is a strong oral infix color, in the written language of "er" generally do not write it, but Qiaoji's Sanqu retained a large number of "er" decorate the word.
8.Conclusion. Conclusion constitutes Qiaoji's Sanqu "text instead of text, vulgar but not bad" language style of the reasons were reviewed and summarized.
引文
[1]温昌经.乔吉散曲论略[J].井冈山师范学院学报,2002,(12).
[2]李慧.乔吉研究的回顾与反思[J].艺术百家,2006年第三期
[3]周晓痴.乔吉散曲论[J].湖北大学学报,2002,(5).
[4]袁卓.略论乔吉散曲的艺术风格[J].艺术百家,2004年第一期
[5]赵晶.浅谈乔吉的散曲创作[J].北京林业干部管理学院学报,2006年第3期
[6]张淼.论元曲家乔吉的心态依据[J].兰州学刊,2006年第九期
[7]张淼.乔吉的生平、行踪及心路历程[J].太原师范学院学报,2004,(6).
[8]王晋建.叠字运用与婉约豪放词风[J].连云港职业技术学院学报,2000,(9).
[9]黎国韬.乔吉散曲艺术新论[J].广东教育学院学报,2009,(2).
[10]王金龙.用典种种[J].黑龙江教育学院学报,2004,(5).
[11]毛燕.比喻运用与风格的体现[J].修辞学习,2005年第六期
[12]李真瑜.重评乔吉杂剧[J].晋阳学刊,1985,(2).
[13]门岿.苍天负我我负苍天——评乔吉的叹世曲[J].浙江师范大学学报,1987,(4).
[14]姚奠中,姚力芸.乔吉新探[J].山西师范大学学报,1989,(1). [l5]余国钦.读乔吉《双调折桂令·荆溪即事》[J].语文学刊,1990,(5).
[16]王毅.试论元散曲的叠字艺术[J].湖南师范大学社会科学学报,1996,(3).
[17]施轩.论元散曲的比喻艺术[J].湘潭大学学报,1996第五期
[18]吴月珍,柴春华,赵建功.元曲的重叠形式及其修辞作用[J].海南师院学报,1997第一期
[19]徐旭.元曲中的鼎足对考辨[J].四川商专学报,1999,(3).
[20]施轩.元散曲的引用艺术[J].聊城师范学院学报,1996第2期
[21]赵义山.元散曲章法技巧及修辞艺术研究述评[M].中国文学研究,2000第1期
[22]李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社,1988.
[23]隋树森.全元散曲[M].北京:中华书局,1986.
[24]郑振铎.中国俗文学史[ M].上海:上海人民出版社,2006.
[25]赵义山.元散曲通论[M].上海:上海古籍出版社,2004.
[26]李昌集.中国古代散曲史[M].上海:华东师范大学出版社,1991.
[27]顾学颉.王学奇.元曲释词[M].北京:中国社会科学出版社,1983.
[28]吕薇芬.全元散曲典故词典[M].湖北:湖北辞书出版社,1985.
[29]刘坚,曹广顺.近代汉语虚词研究[M].北京:语文出版社,1992.
[30]马显慈.关汉卿、白朴、马致远三家散曲之比较研究[M].北京:中华书局,2004.
[31]李崇兴.元语言词典[M].上海:上海教育出版社,1998.
[32]山东大学古籍整理研究所.文学典故词典[M].山东:齐鲁书社,1987.
[33]龙潜庵.宋元语言词典[M].上海:上海辞书出版社,1985.
[34]袁世硕.元曲百科辞典[M].山东:山东教育出版社,1989.
[35]贺新辉.元曲鉴赏辞典[M].北京:中国妇女出版社,1988.
[36]陈望道.修辞学发凡[M].上海:复旦大学出版社,2008.
①中国戏曲研究院.中国古典戏曲论著集成[M].北京:中国戏曲出版社,1959第126页
①李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第328页
②李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第332页
③李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第331页
①李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第335页
②李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第341页
③李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第336页
①陈望道.修辞学发凡[M].上海:复旦大学出版社2008第59页
①(南北朝)刘勰著.周振甫注.文心雕龙注释[M].北京:人民文学出版社1981第411页
②(明)王骥德著.曲律[M].曲律卷第三论用事第二十一
①陈望道.修辞学发凡[M].上海:复旦大学出版社2008第137页
②黄伯荣,廖旭东.现代汉语[M].北京:高等教育出版社2002第278页
③(南北朝)刘勰著.周振甫注文心雕龙注释[M].北京:人民文学出版社1981第411页
[2]李慧.乔吉研究的回顾与反思[J].艺术百家,2006年第三期
[3]周晓痴.乔吉散曲论[J].湖北大学学报,2002,(5).
[4]袁卓.略论乔吉散曲的艺术风格[J].艺术百家,2004年第一期
[5]赵晶.浅谈乔吉的散曲创作[J].北京林业干部管理学院学报,2006年第3期
[6]张淼.论元曲家乔吉的心态依据[J].兰州学刊,2006年第九期
[7]张淼.乔吉的生平、行踪及心路历程[J].太原师范学院学报,2004,(6).
[8]王晋建.叠字运用与婉约豪放词风[J].连云港职业技术学院学报,2000,(9).
[9]黎国韬.乔吉散曲艺术新论[J].广东教育学院学报,2009,(2).
[10]王金龙.用典种种[J].黑龙江教育学院学报,2004,(5).
[11]毛燕.比喻运用与风格的体现[J].修辞学习,2005年第六期
[12]李真瑜.重评乔吉杂剧[J].晋阳学刊,1985,(2).
[13]门岿.苍天负我我负苍天——评乔吉的叹世曲[J].浙江师范大学学报,1987,(4).
[14]姚奠中,姚力芸.乔吉新探[J].山西师范大学学报,1989,(1). [l5]余国钦.读乔吉《双调折桂令·荆溪即事》[J].语文学刊,1990,(5).
[16]王毅.试论元散曲的叠字艺术[J].湖南师范大学社会科学学报,1996,(3).
[17]施轩.论元散曲的比喻艺术[J].湘潭大学学报,1996第五期
[18]吴月珍,柴春华,赵建功.元曲的重叠形式及其修辞作用[J].海南师院学报,1997第一期
[19]徐旭.元曲中的鼎足对考辨[J].四川商专学报,1999,(3).
[20]施轩.元散曲的引用艺术[J].聊城师范学院学报,1996第2期
[21]赵义山.元散曲章法技巧及修辞艺术研究述评[M].中国文学研究,2000第1期
[22]李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社,1988.
[23]隋树森.全元散曲[M].北京:中华书局,1986.
[24]郑振铎.中国俗文学史[ M].上海:上海人民出版社,2006.
[25]赵义山.元散曲通论[M].上海:上海古籍出版社,2004.
[26]李昌集.中国古代散曲史[M].上海:华东师范大学出版社,1991.
[27]顾学颉.王学奇.元曲释词[M].北京:中国社会科学出版社,1983.
[28]吕薇芬.全元散曲典故词典[M].湖北:湖北辞书出版社,1985.
[29]刘坚,曹广顺.近代汉语虚词研究[M].北京:语文出版社,1992.
[30]马显慈.关汉卿、白朴、马致远三家散曲之比较研究[M].北京:中华书局,2004.
[31]李崇兴.元语言词典[M].上海:上海教育出版社,1998.
[32]山东大学古籍整理研究所.文学典故词典[M].山东:齐鲁书社,1987.
[33]龙潜庵.宋元语言词典[M].上海:上海辞书出版社,1985.
[34]袁世硕.元曲百科辞典[M].山东:山东教育出版社,1989.
[35]贺新辉.元曲鉴赏辞典[M].北京:中国妇女出版社,1988.
[36]陈望道.修辞学发凡[M].上海:复旦大学出版社,2008.
①中国戏曲研究院.中国古典戏曲论著集成[M].北京:中国戏曲出版社,1959第126页
①李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第328页
②李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第332页
③李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第331页
①李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第335页
②李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第341页
③李修生,李真瑜,侯光复.乔吉集[M].山西:山西人民出版社1988第336页
①陈望道.修辞学发凡[M].上海:复旦大学出版社2008第59页
①(南北朝)刘勰著.周振甫注.文心雕龙注释[M].北京:人民文学出版社1981第411页
②(明)王骥德著.曲律[M].曲律卷第三论用事第二十一
①陈望道.修辞学发凡[M].上海:复旦大学出版社2008第137页
②黄伯荣,廖旭东.现代汉语[M].北京:高等教育出版社2002第278页
③(南北朝)刘勰著.周振甫注文心雕龙注释[M].北京:人民文学出版社1981第411页