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四聲八病
Four Tones and Eight Rhythmical Errors
指平、上、去、入四聲和八種聲律弊病。自覺(jué)運(yùn)用四聲原理并避免八種聲律弊病，是齊梁時(shí)期的文人從聲律學(xué)角度提出的詩(shī)歌創(chuàng)作規(guī)范。上古時(shí)期的漢語(yǔ)聲調(diào)，學(xué)界爭(zhēng)議較大。至南朝齊梁時(shí)，周颙（yónɡ）、沈約（441—513）等人最先確定了漢語(yǔ)的四聲，用平、上、去、入表示四種聲調(diào)。沈約還提出用五音配合四聲。此后文人創(chuàng)作詩(shī)歌積極運(yùn)用四聲，以使詩(shī)歌聲情更加完美。沈約還發(fā)現(xiàn)四聲運(yùn)用不當(dāng)就會(huì)出現(xiàn)平頭、上尾、蜂腰、鶴膝等八種弊病，創(chuàng)作時(shí)應(yīng)當(dāng)盡量避免?！捌筋^”是指五言詩(shī)的一聯(lián)兩句中，第一字與第六字、第二字與第七字，不能同聲調(diào)，如果違反了此規(guī)則，就是犯平頭?！吧衔病笔侵肝逖栽?shī)一聯(lián)兩句中，第五字不得與第十字同聲調(diào)。其他幾種“病”也都是諸如此類(lèi)的聲韻問(wèn)題?！八穆暟瞬 钡奶岢觯菨h語(yǔ)聲律論的重大進(jìn)步，但同時(shí)因?yàn)橄拗七^(guò)多，在創(chuàng)作中實(shí)際很難把握。到唐代時(shí)，文人將“四聲八病”說(shuō)提煉為平仄律，將四聲簡(jiǎn)化為平仄二聲，化繁瑣為簡(jiǎn)便，更易掌握，至此形成完美的近體詩(shī)詩(shī)歌格律。
This concept refers to the four tones (the level tone, falling-rising tone, falling tone, and checked tone) and the eight rhythmical errors. The conscious use of these tones and the avoidance of these errors were metrical norms for poetry creation proposed by the literati of the Qi and Liang reigns of the Southern Dynasties. Chinese tones in even earlier times remain controversial in academic circles. By the time of Qi and Liang, however, Zhou Yong, Shen Yue (441-513), and others for the first time defined the four tones of the Chinese language — the level tone, falling-rising tone, falling tone, and checked tone. In addition, Shen Yue proposed pairing the five sounds with the four tones. Thereafter, the literati have actively used them in their poetry to perfect the sound and mood. Shen also found that improper use of the four tones would lead to eight rhythmical errors, such as pingtou (平頭 overlapping tones at the beginning), shangwei (上尾 repeated tones at the end), fengyao (蜂腰 the use of characters with the same tone which makes the poem resemble what he likened to a wasp's waist), and hexi (鶴膝 the use of characters with the same tone which makes the poem resemble a crane's knee). These errors in poetry should be avoided as much as possible. "Overlapping tones at the beginning" refers to the first and the sixth characters or the second and the seventh characters in two related lines in a five-character poem having overlapping tones. This was considered to have violated the rules. "Repeated tone at the end" refers to the fifth and the tenth characters in two related lines of a five-character poem having the same tone. Several other errors list similar rhythmical problems. The concept of four tones and eight rhythmical errors was a major advancement in the theory of Chinese phonology, but the concept was too restrictive to use in practice. In the Tang Dynasty, the literati refined the concept to form the theory of level and oblique tones, cutting the requirement of four tones to a requirement of two, making the composition of poems easier, thus greatly improving the rules and forms for the so-called modern-style classical poetry.
引例 Citation：
◎時(shí)盛為文章，吳興沈約、陳郡謝朓（tiǎo）、瑯邪王融以氣類(lèi)相推轂，汝南周颙善識(shí)聲韻。約等文皆用宮商，將平上去入四聲，以此制韻，有平頭、上尾、蜂腰、鶴膝。五字之中，音韻悉異，兩句之內(nèi)，角徵不同，不可增減。世呼為“永明體”。（《南史·陸厥傳》）
當(dāng)時(shí)盛行創(chuàng)作詩(shī)文，吳興沈約、陳郡謝朓、瑯琊王融意氣相投，彼此推許稱(chēng)贊，汝南周颙擅長(zhǎng)分析聲韻。沈約等人的詩(shī)文都運(yùn)用宮商音律，并根據(jù)平上去入確定聲韻，沈約還指出平頭、上尾、蜂腰、鶴膝等弊病。一句詩(shī)中五個(gè)字的音韻各不相同，兩句詩(shī)之內(nèi)角徵的音律要有差異，規(guī)則不可增減。時(shí)人稱(chēng)他們創(chuàng)作的詩(shī)體叫“永明體”。
At that time, it was popular to compose poetry. Shen Yue from Wuxing Prefecture, Xie Tiao from Chen Prefecture, and Wang Rong from Langya Prefecture shared the same interest in poetry and admired each other. Zhou Yong from Runan Prefecture was a master of tones and rhythms. The poems of Shen Yue and others used the temperament of gong and shang and determined the metrical structure with the level tone, falling-rising tone, falling tone, and checked tone, while Shen Yue also pointed out the errors of overlapping tones at the beginning, repeating tones at the end, the use of characters with the same tone which makes the poem resemble a wasp waist, and the use of characters with the same tone which makes the poem resemble the knee of a crane. The rhymes of the five characters in a line of a poem are different, the rhythms for jue and zhi within two lines of a poem should vary, and the rules should not be altered. The people of the time called the style of poetry they created the Yongming Style. (The History of the Southern Dynasties)
推薦：教育部 國(guó)家語(yǔ)委
供稿：北京外國(guó)語(yǔ)大學(xué) 外語(yǔ)教學(xué)與研究出版社
責(zé)任編輯：錢(qián)耐安
