杜甫七律調聲研究

A Research on Tu Fu's Chi Lu Diao sheng

唐代近體詩的創作，特別重視聲韻的和諧。杜甫寫詩是相當用心在經營與雕琢上的，尤其晚年大量創作的七言律詩，極具音樂之美。杜詩七律調聲技藝相當多元，或浮聲切響，或雙仄異調，或入聲複疊，或拗救調聲，皆頗具成效，能達成其理想目標。這些技藝雖盛唐詩人也曾採用入詩，非杜甫的獨門絕學，但杜甫是有意用它來經營其七言律詩，使之聲律更加悅耳，音韻富有變化。再觀察其整體的聲律結構，運作靈活，手法老練，盡善盡美，所以有極佳的音樂美感。

The poetry in Tang Dynasty is especially focused on harmonious rhyming. Tu Fu (杜甫) always stressed on elaboration and decoration when he composed poetry. Especially his Chi yian lu shui (七言律詩) in his old age which had musical beauty. His chi lu diao sheng (七律調聲) method in writing poems is very skillful and effective. He used four methods fu sheng chie shiang (浮聲切響), shuang tza yi diao (雙仄異調), ju sheng fu die (入聲複疊), and ao chiu diao sheng (拗救調聲)alternatively and could attain his expected target goal. Some other contemporary poets in his time also adopted these methods, yet only Tu Fu perfectly and deliberately used these poetic meter and made his poems musical, that is to say, very pleasing to the ears. Observing the whole euphonious structure, we find that his skills is flexible, sophisticated, and perfect, and has the musical aesthetics.