CAJ | 학술논문

元散曲的对仗无论从对仗在曲中的位置上,还是对式的花样上都翻新出奇、大胆创新。在这个意义上,对仗与散曲之尖新泼辣的基本文学精神可谓一脉相承。较早关于散曲对仗的总结是周德清的《中原音韵》,而成书于明初的《太和正音谱》,在此基础上更提出了七种对式名目,有合璧对、连璧对、鼎足对、燕逐飞花对等,分别给这些对仗形式冠以美好的名字。而后曲学领域关于散曲对仗的研究,都受到它的启发,又有所补充。
원산곡적대장무론종대장재곡중적위치상,환시대식적화양상도번신출기、대담창신。재저개의의상,대장여산곡지첨신발랄적기본문학정신가위일맥상승。교조관우산곡대장적총결시주덕청적《중원음운》,이성서우명초적《태화정음보》,재차기출상경제출료칠충대식명목,유합벽대、련벽대、정족대、연축비화대등,분별급저사대장형식관이미호적명자。이후곡학영역관우산곡대장적연구,도수도타적계발,우유소보충。
DuiZhang in Yuan Dynasty SanQu is fresh and strange,between the position of DuiZhang on Qu and DuiZhang style.In this,DuiZhang is new and shrewish same to the essential literature spirit of SanQu.Original it is summary on SanQu DuiZhang in Zhou DeQ-ing’s ZhongYuanYinYun.On that basis,TaiHeZhengYinPu in the early Ming Dynasty concludes that SanQu DuiZhang form have seven types,as HeBiDui,LianBiDui,DingZuDui,etc,and named beautiful words.then,research on SanQu DuiZhang always follows it,and enrichs it.