文艺理论研究
文藝理論研究
문예이론연구
Theoretical Studies In Literature and Art
2014年
2期
140~150
,共null页
元明 文学复古 乐府论 中原音韵 弦索官腔 北曲与南曲
元明 文學複古 樂府論 中原音韻 絃索官腔 北麯與南麯
원명 문학복고 악부론 중원음운 현색관강 북곡여남곡
the Yuan - Ming Dynasties ; the revival of the literary past; Music Bureau; Central Land Prosody ; string - based official tonal scheme; the verse from the North and the South
自元一统以来，南北新声大炽，周德清力黜《广韵》，而有意依托北曲重构新的音韵系统，使之跻身为“中原雅音”，并明确标举北乐府为一代正音，南曲不过亡国之音。这一南北之争直接反映了元代文学复古思潮的消长，而与当时史学、道学的辨统论密切相关，并最终影响了明初的礼乐制作，以北曲为主、兼采南曲的弦索官腔开始一统天下，并于永宣时臻于极盛。然而，当时杨维桢明确反对视今乐府为治世之音而鼓吹性灵，刘基等人更借追慕南曲隐讽时政，却已肇示了明中叶以来新一轮的考音定律，以及南曲最终的全面繁兴。
自元一統以來，南北新聲大熾，週德清力黜《廣韻》，而有意依託北麯重構新的音韻繫統，使之躋身為“中原雅音”，併明確標舉北樂府為一代正音，南麯不過亡國之音。這一南北之爭直接反映瞭元代文學複古思潮的消長，而與噹時史學、道學的辨統論密切相關，併最終影響瞭明初的禮樂製作，以北麯為主、兼採南麯的絃索官腔開始一統天下，併于永宣時臻于極盛。然而，噹時楊維楨明確反對視今樂府為治世之音而鼓吹性靈，劉基等人更藉追慕南麯隱諷時政，卻已肇示瞭明中葉以來新一輪的攷音定律，以及南麯最終的全麵繁興。
자원일통이래，남북신성대치，주덕청력출《엄운》，이유의의탁북곡중구신적음운계통，사지제신위“중원아음”，병명학표거북악부위일대정음，남곡불과망국지음。저일남북지쟁직접반영료원대문학복고사조적소장，이여당시사학、도학적변통론밀절상관，병최종영향료명초적례악제작，이북곡위주、겸채남곡적현색관강개시일통천하，병우영선시진우겁성。연이，당시양유정명학반대시금악부위치세지음이고취성령，류기등인경차추모남곡은풍시정，각이조시료명중협이래신일륜적고음정률，이급남곡최종적전면번흥。
Since the Yuan Dynasty when China became a united sovereignty, there appeared various new prosodic systems. Zhou Deqing （ 1277 - 1365 ） made great efforts to dismiss The Broad Rinues （ gnangyun, compiled from 1007 to 1008 under the aus pices of Emperor Zhenzong of the Song Dynasty） and to construct a new prosodic system based on the musical verse from the northern part of China so as to promote it into the system of ＂the Central Land Elegant Prosody （zhongyun yayun）. ＂ He claimed that the orthodox prosody should be in the Music Bureau verse from the North while the verse from the South was merely a verse of conquered nations. This debate over the Southern and the Northern verse reflected various debates in literary thoughts, history studies and neo - Confucian philosophy and eventually influenced the making of the ritual music in the Ming Dynasty. As a re suh, the string- based official tonal scheme （xiansuo guanqiang） , which was primarily based on the verse from the North with reference to the verse from the South, became dominant and prevailed in the Yongle -Xuande Reigns （1403 -1435 ）. However, Yang Weizhen （ 1296 - 1370） objected to taking the music bureau verse as the orthodox sound scheme and promoted his idea of natural disposition, while Liu Ji （ 1311 - 1375） and his circle began to use the verse from the South as a gesture of reprimanding the politics. Their efforts had already been an initiative in constructing a new prosodic system and an indication of the overall re vival of the verse from the South.
