在律詩聲律規範中「八病」是一個常被討論的課題。「八病」內容為「平頭」、 「上尾」、「蜂腰」、「鶴膝」、「大韻」、「小韻」、「旁紐」、「正紐」，其中關於聲調的 是「平頭」、「上尾」、「蜂腰」、「鶴膝」四種，是同時牽涉到漢語節奏的四種規範。 「大韻」、「小韻」、「傍紐」、「正紐」等後四種病犯，則是關係於五言詩中用字聲 母、韻母的問題。早在鍾嶸《詩品》序就提到「蜂腰、鶴膝」之名，在唐代詩格 中「八病」也被重覆的紀錄，唐人的說法如此頻繁，當可視為一種作詩的通用法 則，「八病」的意義在於對近體詩格律的完成有相當的貢獻外，對於漢語聲調節奏 的認知也有總合的探索。本文即就唐代詩格中關於「八病」的記述做對比研究， 探求異同，以體現近體詩格律在語言節奏上認知的過程與意義。

“Eight Faults” is a frequently discussed topic in the regulation of Chinese classical regulated poetry. Among the “Eight Faults,” the former four, i. e. “Ping-tou”, “Shang-wei”, “Feng-yao” and “He-xi”, are involved with Chinese rhythm, while the latter four, i.e. “Da-yun” , “Xiao-yun”, “Pang-niu” and “Zheng-niu” have to do with the initials and vowels of words in Five-word Poetry. Early in the works of Jung-rung in Liang Dynasty, “Feng-yao”and “He-xi” were mentioned, and the term “Eight Faults” were recorded several times in the literature about regulation of Tang Poetry. The term is so often referred to that it can be regarded as a general guide of rhythm in composing a poem. Based on the comparative study of different views of “Shi-ge” in Tang Dynasty, this study aims to show the cognition process and significance of language rhythm in Chinese classical regulated poetry.

律詩;八病;詩格;語言節奏

Tang poetry; Eight Faults; poetry regulation; language rhythm