《六十种曲》用韵研究

发布时间：2018-04-13 07:31

本文选题：明代 + 《六十种曲》　；参考：《苏州大学》2012年博士论文

【摘要】：明代语音在汉语语音史上，特别是近代汉语语音史上有着重要的地位。研究明代汉语语音对于研究中古音到近代音演化，考察其与现代音之间的关系，分析现代汉语普通话的源流等都具有十分重要的意义。明代可资语音研究的材料非常丰富，有《洪武正韵》系韵书、《中原音韵》系韵书、音注材料、译音对音，以及散见在笔记杂著中的一些有关当时语音的材料。与这些材料相比，明代南曲的用韵具有独特的价值：一、南曲用口语入韵，反映了明代口语的实际面貌；二、用韵的现象丰富，一些混押的情况反映了明代韵母的变化；三、南曲作品时间跨度大，韵段数量多，足以反映明代韵母系统的全貌。由于南曲剧本篇幅甚长，一部曲本从三十几出到五十几出不等，如果将研究范围扩大至全明传奇一则在时间与精力上不允许，二则会因研究对象的庞杂而在讨论上难以深入细致，所以我们在综合考虑南曲曲本在当时的影响，是否具有从俗与昆曲化的倾向之后，最终选择明代汲古阁《六十种曲》为研究对象与范围。我们以北京中华书局1958年版《六十种曲》本作为研究底本，对其中所录的1043个曲牌，16815个韵段进行了穷尽式的考察和分析，得出以下主要结论： 1.《六十种曲》用韵可分为19部，与《中原音韵》的韵部格局相同，这与《中原音韵》作为南曲创作主要的检韵书有密切的关系。其中阴声韵9部：齐微部、支思部、鱼模部、家麻部、萧豪部、歌戈部、尤侯部、皆来部、车遮部；阳声韵10部：先天部、寒山部、廉纤部、监咸部、桓欢部、侵寻部、真文部、江阳部、庚青部、东钟部。从《六十种曲》的用韵，我们可以知道明代南曲用韵的主要特点有：支思、齐微、鱼模混押；歌戈、家麻混押；齐微、皆来混押；庚青、真文、侵寻混押；先天、廉纤、寒山、桓欢、监咸混押。[-m]尾韵尚未完全丢失其区别性特征，故单独成部；入声应该还独立，但是与相应的阴声韵关系密切。 2.《六十种曲》的用韵基本符合这19部系统，反映明代曲作家用共同语入韵。由于南曲作家以南方人为多，所以齐微、鱼模的混押、真文与庚青的混押以及一些阴阳韵部混押的例子都反映了这些人的用韵受到其方言的影响。而非吴语区的作家，由于受北方语言的影响更多，通押情况就要少很多，用韵比较接近当时的共同语。 3.从历时上来看，明代两百余年曲韵的变化不大，在南曲发展过程中，始终受到“存雅求正”思想的影响，追求戏曲作为韵文的格律化与戏曲作为文学的艺术性的两种倾向贯穿南曲发展的全程。本文在前贤研究的基础上，取得了以下的一些创新成果或贡献： 1.改进了研究的方法，提出了戏曲韵文研究的韵例判定原则。内外双重证据相结合并以内部证据为主的判定标准能最大限度地保留作品个性，从而使我们的研究结果更加真实。 2.采用了计算机辅助研究的方法和数理统计的方法，以帮助我们避免由于主观认识上的差异而造成结论的片面性。 3.对《六十种曲》的用韵进行了穷尽式的考察，归纳曲韵为19部，，用分析数据证明了南曲用韵遵用《中原音韵》的事实。 4.从历时的角度考察了明代两百多年间的曲韵的变化，分析了影响南曲用韵的诸多因素。 5.以南曲用韵为切入点，探讨了南曲用韵的参照系问题以及南曲用韵反映的明代共同语的情况。
[Abstract]:The speech in the Chinese pronunciation history, especially the history of modern Chinese phonetics has played an important role for the study of Chinese speech. The study of the Ming Dynasty in ancient and modern music evolution, examines its relationship with modern sound between the analysis of Mandarin origin is of great significance for the study of speech materials in Ming Dynasty. Very rich, there is "Hongwu rhyme rhyme > < > series, Zhongyuanyinyun series of books about the note, material, transliteration of the sound, and scattered in with some of the notes on current speech materials. Compared with these materials, Ming Nanqu rhyme has a unique value: a spoken Nanqu into rhyme. Reflect the actual spoken language of Ming Dynasty; two, the use of rhyme phenomenon is rich, and some mixed situation reflects the changes of the Ming Dynasty finals; three, southern work time span, rhyme segment number, enough to reflect the panorama of the Ming Dynasty rhyme mother system.
Because the South play space is very long, a song from the 30 to 50 out of range, if the scope of the study will be extended to the whole of the Ming legend in a time and energy is not allowed, two will be as the objects of study in complex and difficult to discuss deeply, so we are considering this song at the time -- the influence is popular tendency and the final choice of Kunqu Opera, Ming Ji Gu Ge < sixty > song as the research object and scope.
We in Beijing Zhonghua 1958 edition of < sixty > the koji as dibon, of which 1043 of the recorded tunes, 16815 rhymes were investigated and exhaustive analysis, we draw the following conclusions:
1.< sixty song > rhyme can be divided into 19 parts, with the same < > Zhongyuanyinyun rhyme pattern, and the < Zhongyuanyinyun > as the main creation books seized South have close relationship. The 9 part: Qi Yin rhyme micro department, Branch Ministry of fish mode of thinking, home linen Department Xiao Hao, GE and GE, you Hou, to all, car cover; Yang rhyme 10: birth, Han Shan Department, Ministry of Supervision Ministry of low-cost fiber, salty, Huan Huan department, Ministry of education really find the invasion, the Ministry of youth ministry, Jiangyang, Geng Dong, bell.
From "sixty kinds of music > rhyme, we can know the main features of the Ming Nanqu rhyme: a thought, Qi Wei, fish and mixed mode; GE and Ge, Jia Ma and mixed; Qi Wei, are mixed and green; Geng, really, for invasion of mixing charge; congenital, low fiber. Hanshan, Huan Huan, and.[-m] mixed supervision salty rhyme has not yet completely lost its distinctive features, so a separate department; tone should also be independent, but with the corresponding negative tones are closely related.
2.< sixty song > rhyme in line with the 19 system, the Ming Dynasty reflect the composer with common language rhyme. Because writers in the south for more than the south, so Qi Wei, mixed mode charge of fish, really the green "mixing charge and some Yin and Yang rhyme examples are mixed and reflect the influence these people rhyme by its dialect. Instead of Wu area, due to the more northern language, and through the situation will be much less, the rhyme is closer to the common language of the time.
3. from the diachronic point of view, little change in the Ming Dynasty more than two hundred years of Qu Yun, in southern development process, has always been affected by the "save ya qiuzheng" thinking, the pursuit of drama as a metrical verse and drama as the two tendencies of art of literature of the southern throughout development.
In this paper, based on the previous studies, we have achieved the following some innovative achievements or contributions:
1. improved methods of research, research on the verse drama rhyme cases presented to decide principle. The combination of internal and external evidence criteria to internal evidence as to maximize the retention of works of personality, so as to make our results more realistic.
2. by using the method of computer aided research method and mathematical statistics, to help us avoid one sidedness due to differences in the subjective understanding of the resulting conclusions.
3. of the sixty song < > rhyme were investigated exhaustively, summarized Qu Yun was 19, with the analysis of data to prove compliance with the rhyme of < > Zhongyuanyinyun. In Southern
4. from the diachronic perspective of the change of the Ming Dynasty more than 200 years Qu Yun, analyzes the factors influencing the rhyme with Nanqu.
5. to southern rhyme as the starting point, discusses the use of rhyme reference and rhyme of the Ming Dynasty reflect the southern common language of South.

【学位授予单位】：苏州大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：H114

【引证文献】