CAJ | 학술논문

晚清以来，填词严守四声成为词坛一时风气，其流弊引起民国词人的诸多争议。以冒鹤亭、夏承焘、龙榆生、吴庠、夏敬观等为核心的午社词人对此讨论最为集中和激烈。诸人对四声或倡言支持，或痛陈其弊，或居间调和，并引来张尔田、施则敬等午社外词学名流的加入。众人关于四声问题的不同立场，实际呈现的是民国词人从文字格律寻绎词体音乐属性的理论努力。
만청이래，전사엄수사성성위사단일시풍기，기류폐인기민국사인적제다쟁의。이모학정、하승도、룡유생、오상、하경관등위핵심적오사사인대차토론최위집중화격렬。제인대사성혹창언지지，혹통진기폐，혹거간조화，병인래장이전、시칙경등오사외사학명류적가입。음인관우사성문제적불동립장，실제정현적시민국사인종문자격률심역사체음악속성적이론노력。
Since the late Qing Dynasty, writing Ci following the rule of four tunes has been a sweeping trend. Its ac-cumulated disadvantages have sparked widespread disputes of ci-writers of the Republic of China. Those from the Wushe Ci Club such as Mao Heting, Xia Chengtao, Long Yusheng, Wu Xiang, Xia Jingguan once had an intensive and fierce argument about it. Some were in favor of four tunes while others were strongly opposed. The argument has also attracted Zhang Ertian and Shi Zejing to join in the discussion. Their various attitudes towards four tunes actually present the attempt to seek the musical attributes of Ci from literal rules and forms.