從語料庫觀點比較研究徘律詩與古體樂府詩之韻律結構---以杜甫詩為範圍
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2008/08-2009/07
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本篇是從語料庫觀點比較研究徘律詩與古體樂府詩的韻律結構，詩作主要以 杜甫詩為範圍，試圖從大量的詩句語料中作微觀研究，爬梳徘律詩和古體樂府詩 韻律結構基本單位的差異及形成機制。杜甫詩作中近體詩、古體詩和樂府詩數量 龐大，因此在唐詩類型的比較研究是堪稱代表性的。就平仄、押韻及對仗等詩律 方面，徘律、古體樂府各有不同的詩律特性，因而表現出不同的風貌，如徘律是 近體詩中一類，講究平仄押韻對仗要合詩律；杜甫詩作中，雖然徘律詩句僅能五 言七言呈現，但古體樂府詩句也以奇數音節(三言、五言、七言)為多；但是唯有 詩句數目方面，徘律及古體樂府詩皆不受限制。是故，本研究中試圖從所建構的 杜詩語料庫中，整理歸納杜詩徘律及古體樂府詩之韻律結構基本單位，比較各類 型中的差異。而韻律結構基本單位中包括韻腳位置和歸類、各音節平仄分布、句 式分割等訊息，而徘律詩與古體樂府詩之韻律結構的差異，是因相關韻律制約不 同的要求所致。韻律制約如二分支制約(BINARY-BRANCHING)和決定偶數句韻腳位置直 接相關；平仄分布、句式分割及黏對要求等和音韻步型態制約(FOOT-TYPE)有關；平 聲調制約(PINGTONE)則決定韻腳歸類。這些韻律制約的影響力，在徘律及古體樂府 詩形式表現不盡相同。
This study tries to compare the prosodic structures of Tang Dynasty poet’s poetry, including Pailü, Guti and Yuefu. The corpus of Dufu’s poetry has been constructed. The amount of Dufu’s verses is large enough so as the prototype of the prosodic structures. Every lines of the poetry in this study would be specified: the tonal type (level or contour tone) of each syllable; the tonal types of the paired lines; and the rhymed category. According to the previous literatures and Dufu’s poems, there were different metric grammars (metric rules) for writing these kinds of poems. Through the corpus here, the different patterns of the prosodic structures of Pailü, Guti and Yuefu, would be shown and the statistical results would tell us the most natural patterns and the differences among the prosodic structures of Pailü, Guti and Yuefu. It is supposed that the patterns would be due to the different rankings of the relevant prosodic constraints, such as BINARY-BRANCHING, FOOT-TYPE, PINGTONE.
This study tries to compare the prosodic structures of Tang Dynasty poet’s poetry, including Pailü, Guti and Yuefu. The corpus of Dufu’s poetry has been constructed. The amount of Dufu’s verses is large enough so as the prototype of the prosodic structures. Every lines of the poetry in this study would be specified: the tonal type (level or contour tone) of each syllable; the tonal types of the paired lines; and the rhymed category. According to the previous literatures and Dufu’s poems, there were different metric grammars (metric rules) for writing these kinds of poems. Through the corpus here, the different patterns of the prosodic structures of Pailü, Guti and Yuefu, would be shown and the statistical results would tell us the most natural patterns and the differences among the prosodic structures of Pailü, Guti and Yuefu. It is supposed that the patterns would be due to the different rankings of the relevant prosodic constraints, such as BINARY-BRANCHING, FOOT-TYPE, PINGTONE.