余光中詩的古典音韻美及其轉化
The Beauty of Classical Rhymes in Yu Kwang-chung’s Poems and its Transformation
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作者簡介 : 黃榮順 (Jung-Shun HUANG), 1975年生。臺灣臺中人。臺大中文系、臺大中文研究所碩士，現為中研院史語所專任助理。高中時啟蒙對現代詩的喜好，於余光中、鄭愁予等名家獲益良多，詩作曾獲校內文學獎。大學時詩作亦多次刊登於系刊上。研究所轉而投入傳統小學文字聲韻的研究，期望能對文學開拓多角度的視野，以及深度廣度的經營。 內容題要 : 音韻形式的運用是余光中詩的一大特點。早期作品不僅頻繁地押韻，甚至連句式也相當整齊，儼然脫胎於中國的古典詩歌。然而白話文語詞的應用相異於文言，現代詩在形式上的自由也非古典詩歌所可比擬。詩人必然在融合的過程中思考一種轉化，嘗試更為靈活的新的型態。限於學力，本文專以余光中詩選第一輯 (1949-1981) 為對象，考察詩人在時間的向度上，如何將古典詩看似呆板的音韻格律，逐步轉化為現代詩靈活的節奏的鼓點。
Abstract
One of the main characteristics of Yu Kwang-chung’s poetry is the use of rhyming patterns. Not only do rhymes abound in his earlier works, the sentence structures also contain a degree of symmetry, which is highly reminiscent of classical Chinese poetry. Since the diction of vernacular Chinese is different from that of classical Chinese, the freedom of form enjoyed by free verse is hence much greater than classical poems. As such, the poet is bound to ponder a transformation in the merging process in order to achieve a form that is more versatile. Based on Vol. 1 (1949-1981) and Vol. 2 (1982-1998) of Yu’s anthology, this article examines the aspect of timing of the poet, and how he gradually transforms what appears as rigid rules of rhymes of classical poems into the flexible rhythms of free verse.
참고문헌 (10)
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