【作者】 李蕊；

【导师】 尉迟治平；

【作者基本信息】 华中科技大学 ， 语言学及应用语言学， 2009， 博士

【摘要】 元代的語音是漢語近代音的重要組成部分，在語音史上具有重要的意義。元曲是一種通俗文學，它是根據當時的實際語音押韻的，一定程度上反映了當時的韻母系統。全面整理研究元曲的用韻，將有助於我們了解元代的語音面貌。此外，全元曲用韻的韻部是漢語韻部史的重要組成部分，結合前人對於先秦、漢魏六朝以及隋唐、宋等歷史時期韻文材料的研究成果，可對韻部的歷時演變進行全面系統地觀察，進而考察漢語語音自上古到近代的演變軌跡，為漢語語音史研究提供重要資料。另外，《中原音韻》成書與元曲的用韻有密切的關係，對全元曲用韻的研究還可為《中原音韻》的專書研究提供可資比較的參證。前人對元曲用韻的研究多集中在對單個作家或某個地區作家群的研究上，雖然也取得了一些成果，但總的來說還是很不够的，至今尚無人全面整理現存所有元曲的用韻，我們的研究填充了這項空白。前賢對於《中原音韻》的研究可謂是碩果累累，取得了輝煌的成果，但前賢們的研究多僅局限於韻書本身，將元曲的用韻與《中原音韻》比較研究的成果甚少，我們將在這方面作一些有益的探討。元代有元曲存於世的曲作家共有234位，加上無名氏的作品，共流傳下來雜劇160種、散曲4289首，其中3887首小令、402套套數。雜劇與散曲共有13275支曲子。我們的研究就是以這些流傳下來的元曲為研究材料，利用計算機輔助和數理統計的方法進行梳理和討論。首先對現存所有元曲進行詳細的校勘，其次進行XML標註，提取出相關信息，最後製成數據庫。經分析和討論，我們的結論主要有：1．通過反復排比和系聯，元曲韻共分19部：東鍾、江陽、支思、齊微、魚模、皆來、真文、寒山、桓歡、先天、蕭豪、歌戈、家麻、車遮、庚青、尤侯、侵尋、監咸、廉纖。2．元曲音系的主要特點有：梗、曾兩攝的一、二等唇音字以及喉、牙音合口字正在向通攝轉變；元韻字已完全與山攝合用，不與魂痕通押，其中唇音字與寒山同用，其它字則與先天同用；山攝陽聲韻字根據等呼分為寒山、桓歡、先天三部；咸攝陽聲韻字根據等分為兩部，一、二等字合為監咸，三、四等字合為廉纖；閉口唇音字已經完成了-m尾向-n尾的轉變，“品”併入真文部，咸攝三等合口輕唇音字變為開口呼，併入寒山部，重唇音字則併入先天；除唇音字外，-m尾仍然保留；止攝開口齒音字獨立為一部，支思；尤侯韻唇音字演變為魚模；假攝字根據等分為兩部，一、二等字合為家麻，三、四等字合為車遮。3．元曲作家主要分佈在浙江、大都、山西、山東、河北等地區，他們的用韻在韻部的寬窄、韻字的歸屬等方面都沒有明顯差異。4．從我們的研究來看，《中原音韻》基本上反映了元曲作家的實際用韻情況。5．《中原音韻》並非純粹歸納元曲的用韻而成，在個別韻字的歸屬及對古入聲字的歸派方面與全元曲還存在差異。6．《中原音韻》和全元曲的用韻反映了當時的實際語音，代表了當時的通語系統。7．全元曲中全濁入聲字97.6％派入平聲、次濁入聲字89.5％派入去聲，與《中原音韻》的歸派比例大致相當；古清入聲字33.5％派入上聲，與《中原音韻》的歸派迥異，但我們不能據此說明《中原音韻》對清入聲字的歸派不合理，因爲單純從元曲的用韻歸納出的清入聲的聲調還不能完全反映清入聲的實際歸派。在前賢的研究基礎上，我們共取得了以下創新成果：1．首次對現存所有的元曲的用韻进行了窮盡式的考察，歸納曲韻為19部。2．根據韻部間的親疏關係，我們將元曲19部排序如下：侵尋、真文、庚青、東鍾、江陽、桓歡、寒山、監咸、廉纖、先天；蕭豪、歌戈、家麻、車遮、皆來、齊微、支思、魚模、尤侯。3．首次從韻部、韻字、聲調三個方面將全元曲的用韻與《中原音韻》進行全面比較，對《中原音韻》性質的研究提供了新的佐證。4．首次全面考察了全元曲中入韻的入聲字，認為《中原音韻》對古清入聲字的歸派與元曲不同，並對這個問題的原因作了一些探討。5．使用了計算機輔助研究和數理統計的研究方法，建立了全元曲查詢數據庫。全文23万字，共分為10章：第1章為緒論，介紹前人的研究成果，本課題研究的意義以及所使用的方法、材料等；第2章元曲概說，從曲的起源、發展等方面對研究材料的性質進行了全面的討論，並介紹了現存的元曲選集、別集等；第3章材料的計算機處理，對全元曲的數據建模進行了探討，並對全元曲數據庫進行了設計和開發；第4、5兩章分部討論了元曲19部，列舉了各部的韻字，並對《廣韻》未收字及一些例外字進行了討論；第6章全元曲中的異部通押，討論了元曲用韻時的不同韻部間的通押；第7章全元曲用韻中的入聲字，主要討論了古入聲字在全元曲中的歸派；第8章全元曲用韻和《中原音韻》的比較，從韻部、韻字、聲調三個方面將全元曲的用韻與《中原音韻》進行全面比較；第9章結語，總結全文結論和成果，並指出本文尚待進一步研究的問題及今後的研究展望；第10章韻譜。更多还原

【Abstract】 The phonology of Yuan Dynasty is an important part of the latter-day Chinesephonology, and Yuan Dynasty is also a significant period on Chinese phonology. Yuansongs is a kind of popular literature which rhymed with the real spoken language of YuanDynasty. It is helpful to restore the pronunciation of Yuan Dynasty by studying Yuansongs’ rhyme. The Yuan songs’ Rhyming-Category was an important part of ChineseRhyming-Category. Comprehensive utilization of other scholar’s studies results, we cancompletely observe the changes of Chinese phonology from antiquity to the latter-day.Furthermore, researching on Yuan songs’ rhyme can provide comparative materials to thestudy of Zhongyuanyinyun(中原音韻), because of the close relationships between them.The previous scholars mostly discussed the rhyme of a single dramatist or dramatistsfrom the particular regions, and there is no study ground on all the existent Yuan songs yet,the researches we’ve made are pioneered. The foregoing researches of Zhongyuanyinyunare worthy of acclaim, but there are few studies of comparing Yuan songs’ rhyme withZhongyuanyinyun.There are 234 dramatists in Yuan Dynasty whose works still exist today. We totallycollected 13275 songs including 160 Za-ju(雜劇), 887 Xiao-ling(小令), 402Tao-shu (套數). We analyzed all the songs with computer base on mathematical statistics.Firstly we proofread all the Yuan songs text, secondly marked with XML, chose themessages we need, and built a database finally.This paper drew the following conclusions:1. The rhyming-classes of Yuan songs should be divided into 19 categories:Dong-zhong (東鍾) , Jiang-yang (江陽), Zhi-si (支思), Qi-wei (齊微), Yu-mo (魚模),Jie-lai(皆來), Zhen-wen(真文), Han-shan(寒山), Huan-huan(桓歡),Xian-tian(先天), Xiao-hao (蕭豪), Ge-ge (歌戈), Jia-ma (家麻), Che-zhe (車遮),Geng-qing (庚青), You-hou (尤侯), Qin-xun (侵尋), Jian-xian (監咸), Lian-xian (廉2. The major features of Yuan songs phonology were: some characters fromGeng-she (梗攝) and Zeng-she (曾攝) turning to be tong-she (通攝); Yuan-Yun usedwith Shan-she (山攝) completely, which the labial ones was used with Han-shan andothers with Xian-tian; Shan-she was divided into Han-Shan, Huan-huan, Xian-tianaccording to Deng (等) and Hu (呼); Xian-she was divided into two categories accordingto Deng, which the first and second entered into Jian-xian, third and fourth becameLian-xian; to the labial words, the consonant "m" had already developed into the consonant "n"; Kai-kou (開口) dental words in Zhi-she (止攝) became to Zhi-si; thelabial words in You and Hou-yun (尤侯韻) entered into Yu-mo; Jia-she (假攝) wasdivided into two categories according to Deng, which the first and second entered intoJia-ma, third and fourth became Che-zhe.3. The dramatists in Yuan Dynasty mainly came from Zhejiang, Dadu, Shanxi,Shandong, Hebei, and the difference between their rhymes wasn’t so obvious.4. Base on our researches, Zhongyuanyinyun basically reflected the rhyme ofdramatists in Yuan Dynasty.5. Zhongyuanyinyun was not finished purely by summarizing the rhyme of Yuansongs, there were differences with Yuan songs in the ascription of some single words andRu-tone.6. Zhongyuanyinyun and the rhyme of Yuan songs reflected the real pronunciation,represented the Mandarin in Yuan Dynasty.7. In Yuan songs, 97.6 percent of Quan-Zhuo-Ru (全濁入) words developed intoPing-tone (平聲), 89.5 percent of Ci-Zhuo-Ru (次濁入) developed into Qu-tone (去聲),which was similar with Zhongyuanyinyun; 33.5 percent of Qing-Ru (清入) developedinto Shang-tone (上聲), which are dramatically different from Zhongyuanyinyun. Butwe could not proof that Zhongyuanyinyun was unreasonable, because the tonesummarized from the Yuan songs could not reflect the real ascription of Qing-Ru.This paper has acquired following innovated achievements on the basis of previousstudies:1. We completely analyzed all rhyming-sections of existent Yuan songs firstly, andargued the rhyme-class should be divided into 19 categories.2. According to the relationship between the categories, we sorted the 19 categorieslike this: Qin-xun, Zhen-wen, Geng-qing, Dong-zhong, Jiang-yang, Huan-huan,Hen-shah, Jian-xian, Lian-xian, Xian-tian, Xiao-hao, Ge-ge, Jia-ma, Che-zhe,Jie-lai, Qi-wei, Zhi-si, Yu-mo, You-hou.3. We compared the rhyme of Yuan songs with Zhongyuanyinyun from theRhyming-Category, words and tone for the first time, provided new evidence to theresearch on Zhongyuanyinyun.4. We firstly analyzed all the Ru-tone (入聲) words rhymed in Yuan songs.5. We established Yuan songs database with Computer-aid Research andMathematical Statistics methods.This paper consists 10 chapters and the number of words amouts to 230,000. Chapter1 was the introduction. Chapter 2 introduced the materials. Chapter 3 discussed theComputer-aid Research method. Chapter 4 and 5 discussed the 19 categories of Yuan songs. Chapter 6 argued the Crossing-Rhyming. Chapter 7 discussed the Ru-tone wordsrhymed in Yuan songs. Chapter 8 compared the rhyme of Yuan songs withZhongyuanyinyun. Chapter 9 drew conclusions and innovated achievements. Chapter 10displayed the total Yun-pu (韻譜).更多还原