【作者】 黄亮；

【导师】 张玉来；

【作者基本信息】 苏州大学 ， 语言学及应用语言学， 2012， 博士

【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。更多还原

【Abstract】 Phonetics of Ming Dynasty has a high place in Chinese Phonetics, especially theModern Chinese Phonetics History. The study of Ming’s phonetics is of vital significancein aspects of investigating the evolution from ancient to modern phonetics, studying therelationship between ancient and modern phonetics, as well as analyzing the origin ofModern Standard Chinese. Large amounts of materials are available for the study ofMing’s phonetics, for example, Hongwu Zhengyun with its interrelated books, ZhongyuanYinyun with its interrelated books, rhyme notes, transliterations and other materialsscattered in different books, also record the phonetics of that time. Compared with thesematerials, the rhyme of Southern Drama is of unique values:1. It starts with Ming’s spokenlanguage, which vividly reflects its actual situation;2. It is a perfect combination ofdifferent kinds of rhymes, the mixed use of rhymes even reflects the changes of Ming’srhymes;3. The long time-span, as well as the large amount of rhyme groups, is totallyenough to reveal the whole picture of Ming’s Rhyme System.With over thirty to fifty scenes of each, Southern Drama is too long for us to focus onthe whole Ming’s Drama. For one thing, our time and energy are limited, for another, ourstudy will be hard to further with numerous subjects. After taking a comprehensiveconsideration of the influence Southern Drama’s scripts have on that time and thepossibility of being popularized and assimilated by Kunqu, we choose Jigu Library’s60Drama as our study subject at last.Taking the60Drama published by Chinese Publishing House in1958as a mastercopy, we have exhaustively analyzed its recorded1043qupai tunes and16815RhymeGroups. Conclusions are as follows:1. Rhyme of60Drama can be divided into19parts, which is the same as ZhongyuanYinyun, the main reference book of Southern Drama. There are9parts of Yinsheng, whichare Qiwei, Zhisi, Yumu, Jiama, Xiaohao, Gege, Youhou, Jielai and Chezhe, and10parts ofYangsheng which are Xiantian, Hanshan, Lianqian, Jianxian, Huanhuan, Qinxun, Zhenwen,Jiangyang, Gengqing and Dongzhong.According to the rhyme of60Drama, we can easily know that the main features ofSouthern Drama’s rhyme are a mixture use of Zhisi, Qiwei and Yumu; Gege and Jiama;Qiwei and Jielai; Gengqing, Zhenwen and Qinxun as well as Xiantia, Lianqian, Hanshan, Huanhuan and Jianxian. Rhymes ended with [-m] have not lost their distinctive features, sothey should be put apart; though closely related with Yinsheng Rhymes, the entering toneshould also be an independent part.The rhyme of60Drama is basically in accordance with the19parts, which reflectsthe fact that composers of Ming Dynasty tend to use rhyme with common language. Asmost of Southern Drama’s composers are southerners, a mixture use of Qiwei and Yumu,Zhenwen and Gengqing, and some others reflect the phenomenon that they are all greatlyinfluenced by their own dialects. While other composers, who do not live in Wu DialectArea, are less likely to use such kind of rhyme, due to a strong influence of northernlanguages. Their rhyme is rather close to the common language of that time.From a diachronic point of view, the drama rhymes of Ming Dynasty have littlechanges for over200years. In the development of Southern Drama, they are alwaysinfluenced by the thought of “elegance and uprightness”, the pursuit of drama inaccordance with metrical verses and artistry of literature have been two main tendenciesthroughout the whole developing process of Southern Drama.Based on former studies, the dissertation will be focus on the following innovationalachievements and contributions that have been made:1. We have improved methods of researching and proposed the judging principle ofdrama. The combination of evidences from both inside and outside, but theinside-dominated criterion can maximize works’ individuality, which enables us to provideour study results in a more authentic way.2. We have adopted computer-assisted and mathematical statistics methods, whichavoids our conclusions from being one-sided due to different subjective understandings.3. We have made exhaustive investigation into60Drama and narrow it down to19parts. With the analysis of various data, we have proved that the rhyme in Southern Dramais in accordance with that in Zhongyuan Yinyun.4. We have researched the changes of Ming’s drama rhymes from a diachronicperspective, analyzed many factors influencing the rhyme of Southern Drama.5. We have used the rhyme of Southern Drama as a breakthrough point, discussed thereference books of its rhyme and the situation of Ming’s common language it reflects.更多还原