間架的美感：試探長調過片的抒情類型與表現

The Lyrical Patterns and Aesthetic Expressions in the Beginning of the Second Stanza of Long Tunes of Ci-poetry

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

本文從詞調著眼，探討長調過片的抒情類型與表現。首先釐清“過片”與“换頭”兩者之内涵。以爲宋代的“换頭”爲音樂術語，“過片”則與文意結構相涉，皆指向下片開頭處。至明清以降則多以“换頭”稱之。其次，過片的抒情形態取決於詞調的屬性，詞調的過片類型依據情感收束性的有無可分爲環狀結構與綫性結構兩種。前者指過片處對上片情感進行整合、收束，或轉折，形成跌宕頓挫的美感。後者的過片往往打破上下片的界分，成爲一流貫的叙事語脈。這也是長調發展至南宋以後，爲迎合不同抒情場域的需要所發展而成的新抒情樣態。希冀藉由本文的討論，初步梳理過片結構與抒情方式的關係。

Focusing on the tunes of ci-poetry, this article is an attempt to analyze the lyrical types and expressions of the beginning of the second stanza of a poem (guopian 過片) in long tunes (changdiao 長調). The first task is to give a clear definition to guopian. In the Song dynasty, the term referred to the first phrase or paragraph of the second stanza of a ci-poem. Since the Ming and Qing dynasties, however, guopian was instead called “change of the head” (huantou 換頭). In addition, the lyrical type of a guopian was determined by the attributes of the tune-title. According to the manner of emotional expression, the structure of a guopian can be divided into two categories, namely loop structure and linear structure. The former refers to the guopian that functions as integration, condensation, or transition of the emotion expressed in the preceding stanza. It forms a kind of aesthetic effect of fluent rhythms. The latter, linear structure, refers to one that usually divides the two stanzas in a poem and thereby forms a coherent narrative flow. This was a new mode of changdiao poems in the Southern Song, which catered to the needs of the different milieus of lyricism.