唐詩之聲律

ELEMENTS IN THE METRICS OF T'ANG POETRY

就體裁而論，唐詩大別為二類，即今體與古體，二者之差異端在聲律之應用。對唐人言，顧名思義，古體乃仿古之作，今體則為唐人所獨創。故以「唐詩」一詞專指今體，似乎更為恰當。舊時論唐詩聲律者，多限於律絕，以平仄歌訣為主，輔以「一三五不論，二四六分明」等說，其法雖頗實用，然缺點仍多，其最大者厥為使此一聲律之基本法則隱晦不彰。晚近中西學者對此問題有興趣者頗多，論著亦豐，每能超勝前修，然於該聲律之基本原理猶皆未能具體標出。本文即針對此點，綜論唐詩聲律之構成要素，期以數條簡約之法則貫串唐詩之各種形式，從而闡明唐詩聲律之特質。結論得公式六，前三條為必要的基本法則，說明律體詩之章法及句法皆遵循鏡式反映規律而擴展，並在特定的情況下受到韻律之節制；後三條為選取性的輔助法則，指出在某些固定的情形下，基本的平仄格式得作某些修訂。唐詩聲律因有此六條公式乃獲得最精確之說明，即破格之詩亦因而得以清晰顯出其所以破格之故。

1. The metrics of T'ang poetry has been a subject of numerous studies. There would seem to be no reason why one more study on this topic should be added unless something new has been discovered. In what follows, a new approach will be adopted for the study of this old subject, and it is hoped that some new light can thereby be brought upon it. 1.1. It must be made absolutely clear at this point that the term 'T'ang poetry' as is used here does not mean the same thing as it does elsewhere.