「意象雷同」和「語出獨造」－－從「錢、劉」看大曆五律守正和漸變的路向

“Identical Imagery” and “Diction Creativity”: Qian-Liu and the Trends of Compliance with Conventions and Gradual Changes in Pentasyllabic Regulated Verse

「意象雷同」和「語出獨造」是前人對劉長卿 (718?-790?) 五律的矛盾性評價，也反映了以錢、劉為代表的大曆五律守正和漸變的路向。「意象雷同」的外部原因在於大曆詩人交往圈子的密切和創作環境的趨同，內部原因在於取材收縮到送別、寄贈、旅宿三大類傳統範圍之內，在延續盛唐主流詩風和創作慣性的基礎上，促進了同類意象的細化和衍生。「語出獨造」指其煉字構句多有獨創，主要原理是突破了五言詩字、詞組合的傳統習慣乃至正常語法順序，具體表現在常見意象和語詞組合方式的陌生化、五言句中二、三意義節奏跨度的加大、五字一句境的提煉等方面，其意義在於深入發掘了五律體式自身的表現潛力，使律詩語言更富於飛躍性。其路向則是預示了五律必然進一步追求「吟安五個字」的趨勢。

The pentasyllabic regulated verse of Liu Zhangqing 劉長卿 (ca.718-ca.790) has long been ambivalently appraised as using “identical imagery” 意象雷同 on the one hand and initiating “diction creativity” 語出獨造 on the other. This ambivalence reflects two trends of the time, namely rigid compliance with conventions and gradual changes in the pentasyllabic regulated verse of the Dali 大曆 Period (766-779) represented by Qian Qi 錢起 (ca.710-ca.780) and Liu Zhangqing. The external causes for the occurrences of “identical imagery” are twofold: 1) the intimacy among the poets and 2) their shared creative environment. The internal cause was the narrowing of poetic themes to three main traditional categories, namely “farewell,” “sending and dedicating,” and “lodgings on a journey.” As these poets inherited and continued the High Tang mainstream poetic styles and practices, the imagery in their poems evolved and was refined. “Diction creativity” refers to innovation in wording and structure of the verses. One evident phenomenon was the deviation from conventional morphological practice and even from the regular grammar of pentasyllabic verse. Such practices included: 1) the uncommon morphological structure of common imagery and diction; 2) the broadened rhythmic span of the semantic caesural pause between the second and third character in a pentasyllabic line; and 3) the creation of one poetic image in each five-character line. Its significance lies in the profound exploration of the expressive potential of pentasyllabic regulated verse, which enhances the vividness of the poetic form of regulated verse. This trend anticipated the pursuit for “completing versification in five characters” in the later development of pentasyllabic regulated verse.