精整而有氣機──論夢窗詞對偶之運用

'Exquisite, complete and fluent''──On the Use of Duality in Mengchuang’s Ci-Poetry

「對偶」作為一種修辭技巧，普遍運用在中國文學各種體裁中。以傳統詩詞而言，一般以為只有近體詩中的律詩，才必須使用對偶，至於詞體則沒有強制規定。但詞體因調而異、因時而異、因人而異，情況遠較詩體複雜。以夢窗詞而言，現存三百四十首，用調一百四十四種。據筆者統計，其中計有四十五種調、一百三十首詞作有固定位置使用對偶的情況，超過夢窗詞總數三分之一。意即夢窗使用這些詞調創作時，可能把對偶視作一種格律、規範，刻意地重複。因此本篇論文以這一百三十首夢窗詞作為研究對象，先分析其對偶形式，進而探討對偶在整首結構中帶起節奏、意義經營的效用。

'Duality''is a kind of rhetoric skill widely used in different kinds of articles in Chinese Literature. Traditionally, people thought that ''Duality''was only used in regulated verses of modern poetry but not in nominal sentences. However, nominal sentences would be different because of tone, time, and people, which is more complicate than verses. To ''Mengchuang’s Ci-Poetry'', there are existing 144 tones among 340 poems. Based on the statistics done by the author, 45 kinds of tones and 130 verses have fixed positions for ''Duality'', which are more than 1/3 of ''Mengchuang’s Ci-Poetry'' poems. It means ''Duality''was treated as a rhythm and a rule which is intentionally repeated in the poetry. This article would discuss these 133 ''Mengchuang’s Ci-Poetry''firstly the form of ''Duality'', then the rhythm and meaning that ''Duality'' brings to the whole structure.