聲律論的遞進／演進──《文心雕龍》與《閒情偶寄》比較

The Progression / Evolution of Phonology: the comparison of “Wen-Xin-Diao-Long” and “The Occasional Notes with Leisure Motions”

劉勰與李漁二位文論家所處的時代，前者是魏晉南北朝時期，人稱文學自覺的時代，後者是明清戲曲大放異彩的時期，這兩個時期都有相似之聲律論爭。《文心雕龍》與《閒情偶寄》這兩部文論專著雖有雅俗之別，論述對象一個主要是詩文，一個主要是戲曲，不過都特闢一個章節〈聲律》，也都面對了當時文壇的聲律論辨，更都有意總結歸納前人所言。劉勰《文心雕龍．聲律》主要是以提綱挈領、高屋建築之筆法，表述詩歌聲律之起源，強調聲律和諧之重要；李漁《閒情偶寄》則是不厭其煩的以淺近的文字進行論述，對於唱詞與賓白之聲律，要求以實際演出能有良好效果為最高指導原則。劉勰表達支持沈約聲律理論之意，李漁則綜合了湯、沈二家說法，認為應該努力要求文律雙美。在論述對象方面，劉總針對的是韻文，與沈約「永明體」聲律理論相同，並未將論述範疇拓展至無韻之文；不過明代湯、沈之爭本來只是集中在唱詞上，李漁則擴大到連賓白也包含進來。惟二人對於各地方言不同聲律之看法，都著重於純粹性、一致性之要求。若就其影響層面來看，劉勰肯定了詩歌聲律結構之審美功能，對於近體詩的創作風潮起了推波助瀾的正面積極作用；李漁的戲曲理論，也因極具實際應用價值，對於《長生殿》、《桃花扇》之創作，以及近代王國維、吳梅之戲曲理論建構，都具有不言可喻之指導與傳承意義。 Liu Xie described the origin of the phonetic and emphasized the importance of phonologic harmony in his “Wen-Xin-Diao-Long”. He wrote in a precise and elegant style. In the contrary, Li Yu patiently instructed the phonological logic with words, which were easy to catch up, stressed the practical uses and called for using beautiful songs and cut-clear dialogues. Both Liu and Li fitted the common phonology at that time. Liu stood the side for elegant phonology, whereas Li, who combined the theory of both Tang and Shen's, suggested that both phonology and dialogues should be emphasized. At the perspective of discourse analyses, Liu focused solely on verse, which was similar to that of Yongming Style poetry; however, Li expanded his emphasis onto dialogues, which went far beyond the battle between Tang and Shen that was solely on the songs. However, both Liu and Li held the same perspective of regional phonology, which they both thought the phonology should be pure and consistent. This point-of-view showed great contradictory to contemporary aspect, which supported the great diversity of the phonology, indicating that their views were more conserved and they hoped that all the works should follow same phonology. Even though Liu and Li were people in different era, they both put great emphases on phonology. Plenty of their works are elegant and deep, which are still worth studying nowadays. Their works still have great impact on contemporary poetry and worth people in these fields to further investigate.

Liu Xie described the origin of the phonetic and emphasized the importance of phonologic harmony in his “Wen-Xin-Diao-Long”. He wrote in a precise and elegant style. In the contrary, Li Yu patiently instructed the phonological logic with words, which were easy to catch up, stressed the practical uses and called for using beautiful songs and cut-clear dialogues. Both Liu and Li fitted the common phonology at that time. Liu stood the side for elegant phonology, whereas Li, who combined the theory of both Tang and Shen's, suggested that both phonology and dialogues should be emphasized. At the perspective of discourse analyses, Liu focused solely on verse, which was similar to that of Yongming Style poetry; however, Li expanded his emphasis onto dialogues, which went far beyond the battle between Tang and Shen that was solely on the songs. However, both Liu and Li held the same perspective of regional phonology, which they both thought the phonology should be pure and consistent. This point-of-view showed great contradictory to contemporary aspect, which supported the great diversity of the phonology, indicating that their views were more conserved and they hoped that all the works should follow same phonology. Even though Liu and Li were people in different era, they both put great emphases on phonology. Plenty of their works are elegant and deep, which are still worth studying nowadays. Their works still have great impact on contemporary poetry and worth people in these fields to further investigate.