Проблемы литератур Дальнего Востока. Часть 1

Новые вопросы изучения классической китайской литературы... Issues of Far Eastern Literatures. Vol. 1. 2018 159 from the fetters of classical prosody, still struggles to find a firm footing after a century of exploration. Often ignored in the process is the fact that classical Chinese prosody, mainly comprising tonally balanced rhythm, rhyme, parallelism along with lines of equal length, is the aesthetic distillation of prolonged reflection and praxis based directly or indirectly on core attributes of the Chinese language. This makes prosody a ‘semi-natural’construct that enhances musical, architectural and painterly beauty in classical Chinese poetry. This paper outlines some of the linguistic aspects underpinning classical Chinese prosody, especially the isolating, monosyllabic nature of Chinese morphology, while pointing out elements that need to be modernized in order for classical Chinese prosodic poetry to thrive into the future. Keywords: classical poetry, vernacular poetry, prosody, linguistic attributes, aesthetic direction 鄺龑子 ˄ 嶺南大學 ˈ 香港 ˈ 中 ഻˅ হ ݍ ䷐ᕠ䀾ԪঐԪᕳ" ϕ 䀾℡傩ᓤⱙ丳 ߺ 䮱䥊䀳 ˖ਔި䂙䂎ǃⲭ䂡䂙ǃ丫ᖻǃ䃎䀰⢩䌚ǃ㖾ᆨᯩੁ 䂙ⅼᱟᴰާㇰཿ઼丣′ᝏⲴ᮷億ˈᴰ ࠍ 㐤 ݚ 㖾Ⲵ䃎䀰㰍㺃DŽ᤹➗ᖒᔿ㖾઼ 丣′㖾৏ࡷˈ䂙ⅼབྷ⮕ਟ࠶⛪ ޙ 于ˈণNj丫ᖻ䂙nj prosodic verse ઼Nj䶎丫 ᖻ䂙nj non-prosodic verse DŽ㉑௞䃚ˈ丫ᖻ䂙ሽṬᖻ metre ǃ䂙丫 rhyme ઼䂙ㇰᖒᔿ VWDQ]D ᴹаᇊ㾿ㇴˈնн㾱≲ᡰᴹ ݳ ㍐啺䳶DŽ⮦ѝԕṬᖻᴰ䟽 㾱㘼㼷䴌ˈ⎹৺䂙ਕ㎀Ώǃㇰཿ઼䮧ᓖ˗䂙ㇰ⎹৺⇥㩭ԕ㠣 ޘ ㇷⲴ㎀Ώ઼䮧 ᓖDŽ䶎丫ᖻ䂙ࡷн㾿ᇊԫօ㾿ᖻ⁑ᔿⲴᖒᔿ㖾৺丣′㖾 ݳ ㍐DŽ⫠亗⨮⮦ԓ਴ ഻䂙ⅼˈѝ᮷ⲴNjⲭ䂡䂙nj৺㾯ᯩⲴNj㠚⭡䂙nj free verse 1 䜭ᱟ䶎丫ᖻ䂙ˈ ਼⁓ኜᯬҼॱц㌰Ⲵ᮷ॆ઼㰍㺃ᙍ㏝䎠ੁNj事㾶ۣ㎡njǃNj䀓䲔ᶏ㑋njǃ Nj䘭≲㠚⭡njㅹㅹⴞ⁉Ⲵ᮷ᆨ㺘⨮DŽሽؑཹ㠚⭡䂙億ⲴӪֶ䃚ˈ丫ᖻ㾿ㇴᱟ ᗇн ݏ ཡǃ䲀ࡦⲬ᨞Ⲵ㰍㺃ṾếDŽ ਖаᯩ䶒ˈሽ億ᴳㆷѝᗞ࿉ⲴӪ㘼䀰ˈ丫ᖻ億⨮䂙ⅼਖаኔ㖾ᝏˈіᡀ ޘ 㚢丣㠷ᛵ᜿Ⲵ䝽ਸ઼എ丯DŽਔӺѝཆⲴ䂙ⅼн㌴㘼਼Ⲭኅࠪ丫ᖻ䂙ˈ䃚᰾ণ֯ 1 lj㚆㏃NJⲴLJ䂙ㇷLj৺LJᡰ㖵䮰ѻⅼLjˈӖኜᯬ ԕᣁᨊ乃ᥛ৺ሽ ڦ ㎀Ώ⛪ᵜⲴ 㠚⭡ 䂙億ˈᵜ䌚кᱟṬᖻᡀ⟏ѻࡽⲴሜ儶㺘䚄ˈі䶎࡫᜿ⲴṬᖻ事㾶DŽ↧ԓ㤡ǃ㖾䂙Ӫˈ䯃ᡆ Ӗማ㠚⭡䂙 ྲ Milton, Arnold ˈնਚኜᯱ᭟ᡆሖ傇ᙗⲴማ֌ᯩᔿDŽ㠣ᯬ㠚⭡䂙億൘Ҽॱ ц㌰ԕֶབྷ㹼ަ䚃ˈࡷⓀᯬॱҍц㌰ᲊᵏⲴ⌅഻䂙Ӫ ྲ Rimbaud, Laforgue ˈ⛪৽ሽ⌅ ᮷䂙Ṭᖻ೤㤋㘼᧘अⲴ vers libre 䙻अDŽ