雅各布森论中国近体诗声律的对称美学——兼论近体诗声律的《周易》本源

李国辉

doi:10.19857/j.cnki.ICL.20236212

雅各布森论中国近体诗声律的对称美学——兼论近体诗声律的《周易》本源

doi: 10.19857/j.cnki.ICL.20236212

李国辉^,

台州学院

基金项目:

本文系国家社会科学基金重点项目“‘中国影子’与法国象征主义大众化转型研究”（项目编号：22AWW008）阶段性成果。

详细信息

作者简介:
李国辉,文学博士,台州学院人文学院教授,主要从事现代主义诗学、比较诗学研究。

通讯作者:
李国辉,E-mail:liguohui79@163.com

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出版历程
- 收稿日期: 2023-04-07
- 录用日期: 2023-05-15

Roman Jakobson's Interpretation of the Symmetries of the Chinese Tonal Pattern

LI Guohui^,

Taizhou University

摘要

摘要: 俄罗斯语言学家雅各布森1966年在《中国格律诗的组合模式》一文中用对称理论来解释近体诗声律，发现了中国诗律学家未能充分揭示的诗行关系：反对称、镜像对称、镜像反对称。其中的镜像反对称受到了中国科学家杨振宁在研究粒子规律时提出的镜像反照说的影响，即可以通过镜像反照来转换物质与反物质。雅各布森的学说，被高友工继承，后者在《格律诗的美学》中提出了镜像的概念。之后王靖献在《新普林斯顿诗歌与诗学百科全书》“中国诗”辞条下，受到雅各布森的影响使用了“镜子效果”一语。这些研究尽管具有科学价值，是准确的解释，但不是如实的解释。中国古代的诗人无法把握量子力学的对称学说，他们只能通过可以直觉到的经验来建设诗律。就文化的根源来看，《周易》的阴阳二分法，与平仄二分法对应；对卦与覆卦的卦变规律，与近体诗诗行的变化规则相同。中国诗人从乾、坤两卦以及屯、蒙两卦可以直接得到对卦和覆卦的经验。而近代诗“粘”的技巧，实际上是先求对卦，再求覆卦（或者次序相反）而得到的。近体诗声律并非是对梵语诗律的模仿，它充分吸取了《周易》的卦变思想，是具有中国文化自身特征的美学结构。雅各布森发现了一种科学的解释，但对于近代诗声律而言，固有文化的解释更符合历史事实。
- 近体诗声律 /
- 镜像 /
- 雅各布森 /
- 周易
Abstract: Russian linguist Roman Jakobson, in his 1966 "The Modular Design of Chinese Regulated Verse," interpreted the Chinese Tonal Patterns by means of his symmetry theory, and found the arrangements of lines which were not completely understood by Chinese prosodists. These are:symmetry reflexive, antisymmetry and reflexive antisymmetry. Reflexive antisymmetry was influenced by the conception of Mirror Reflection that was advocated by Chinese scientist Chen-Ning Yang, by which one can switch matter and antimatter. Yu-kung Kao, a successor of Jakobson, borrowed the notion "mirror image" from the latter in his essay "The Aesthetics of Regulated Verse." Soon afterwards, Ching-hsien Wang, in the entry for "Chinese poetry" in the Princeton Encyclopedia of Poetry and Poetics, brought forward the idea of "mirror effect." Although these researches were scientific and accurate, they were not the real and historical interpretation. Ancient Chinese poets, unable to grasp the symmetry theory of quantum mechanics, could construct meter only with intuitive experiences. In respect to cultural origin, the dualism of Yin and Yang in Yijing corresponds to the dualism of Ping and Ze in Chinese prosody; the Contrast Eight Diagrams (对卦) and Reverse Eight Diagrams (覆卦) correspond with the symmetry of regular verse. Chinese poets could draw direct impressions of the Contrast and Reverse Eight Diagrams respectively from the change from Qian (乾) to Kun (坤), and from Zhun (屯) to Meng (蒙). The rule of Coalescence (粘连), in fact, is a combination of changes of the Contrast Eight Diagrams and Reverse Eight Diagrams. The Tonal Pattern is not merely an imitation of Sanskrit meter. On the contrary, richly assimilating ideas of change from the Eight Diagrams, it embodies native aesthetical principles. In contrast with Jakobson's abstract and remote answer, the Chinese native interpretation is more valuable, and more in line with historical fact.
- Tonal Pattern /
- mirror image /
- Roman Jakobson /
- Yijing

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参考文献(21)

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