抒情的結構：試析長調領字的抒情類型與美感表現

Lyrical Structure: Research on the Lyrical Patterns and Aesthetic Expressions of Lingzi in Changdiao

領字為長調承上啟下，連接文脈的樞紐所在，學界雖已有不少針對領字功能、性質與類型的相關研究，惟較少從領字抒情特徵立論者。有鑑於此，本文以《全宋詞》所收錄的長調為研究範疇，旨在探討領字的結構特徵與抒情美感的關係。首先將領字分作前置副詞與心理動詞兩類，以為動詞領字有助於聚焦情感，表現詞人抒情自我所在；副詞領字則涉及時空意象的特定。其次關注領字與領句的連結型態，分為「並排對偶」與「鋪陳敘述」兩種類型。前者為領句空間關係的型塑，後者則是領句時間進程的展演。接著從音韻角度著眼，以為領字多去聲低調的特質，除能提領下文外，亦具有凝聚並統合情感，彰顯抒情場景的作用。盼能藉由本文的討論，提供學界關於長調美學的研究思考。 Lingzi 領字, which act as a bridge connecting sentences and images, played a significant role in the development of new lyrical formats in changdiao (urtiin duu) 長調. While many studies have previously analyzed the function, properties and forms of lingzi, insufficient attention has been paid to their structural features and aesthetic meanings as expressed in changdiao. Based on the findings made in earlier studies, this article investigates the relationship between the structural features and aesthetic meanings of lingzi. First, it is important to point out that we can divide lingzi into two types - verbs and adverbs. In verb form, lingzi focus the emotions and display the lyrical self, whereas in adverb form, they specify a certain temporal and spatial image. Second, from the perspective of phonetics, lingzi, which are usually qusheng 去聲 characters allocated to low musical notes, are responsible for the expression of emotion. This latter characteristic is also important in the internalization of personal aesthetic experience and the combination of scene and emotion. Lastly, the relationship between lingzi and lingju 領 句 can be divided into “antithesis” and “narrative.” The former can be observed in the spatial arrangement of ci, while the latter reveals narrative time. In sum, by analyzing the distinctive features of lingzi in changdiao, it is hoped that this study will serve as a foundation for further investigation into changdiao aesthetics.

Lingzi 領字, which act as a bridge connecting sentences and images, played a significant role in the development of new lyrical formats in changdiao (urtiin duu) 長調. While many studies have previously analyzed the function, properties and forms of lingzi, insufficient attention has been paid to their structural features and aesthetic meanings as expressed in changdiao. Based on the findings made in earlier studies, this article investigates the relationship between the structural features and aesthetic meanings of lingzi. First, it is important to point out that we can divide lingzi into two types - verbs and adverbs. In verb form, lingzi focus the emotions and display the lyrical self, whereas in adverb form, they specify a certain temporal and spatial image. Second, from the perspective of phonetics, lingzi, which are usually qusheng 去聲 characters allocated to low musical notes, are responsible for the expression of emotion. This latter characteristic is also important in the internalization of personal aesthetic experience and the combination of scene and emotion. Lastly, the relationship between lingzi and lingju 領 句 can be divided into “antithesis” and “narrative.” The former can be observed in the spatial arrangement of ci, while the latter reveals narrative time. In sum, by analyzing the distinctive features of lingzi in changdiao, it is hoped that this study will serve as a foundation for further investigation into changdiao aesthetics.