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清代中叶著名诗人蒋士铨乾隆二十五年庚辰(1760)所作《京师乐府词十六首》之三《象声》,以诗歌的形式反映当时流行于北京民间的一种口技艺术,因而成为一篇名作。在此之前,清初张潮辑《虞初新志》卷一所收林嗣环《秋声诗自序》,钮琇《觚剩》续编卷三《事觚》“象声”条,也曾有过类似的描述。然而钮琇该条最末却感慨说:“今其人已没,而法亦不传。”因此,笔者专门依据这三篇作品,写成《“口技”与“象声”》一稿,主要在于以蒋士铨该诗证
In the form of poetry, “Elephant Sound,” the third “Elephant Sound” made by Geng Chen (1760), a well-known poet in the mid-Qing dynasty, by Emperor Qianlong of the late Qing dynasty (25th year of Emperor Qianlong), reflected in the form of poetry an oral technique that prevailed in Beijing at that time. Title Prior to this, in the early Qing Dynasty Zhang Chao series “Yu Chu Xin Zhi,” a collection of Lin Sai-ring “Autumn Voice Poetry Preface”, button 琇 “relic” remade volume “things” “ Have a similar description. However, the last paragraph of the button 感 but emotionally said: ”Now people have not, and the law does not pass. “ Therefore, the author specifically based on these three works, written ”“ ”A manuscript, mainly lies in Jiang Shiquan the poem