唐五代晋南诗人用韵考
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摘要
在中国古代丰富多彩的语音材料中,诗文用韵是最重要的材料之一。前人在唐诗用韵方面已经作了许多研究,其中既有对某个诗人用韵情况的研究,比如张世禄《杜甫诗的韵系》,也有对唐代某个特定时段或特定地域的诗文用韵进行总体的考察,比如鲍明炜《唐代诗文韵部研究》,胡安顺先生《唐代洛阳诗人用韵考》等。笔者发现专门对山西地区诗人用韵的研究工作做得还不够,所以就唐五代晋南诗人的诗文用韵情况进行了考察,旨在了解其用韵特点,展现其实际语音面貌。
本文以唐五代晋南地区77位诗人的2280首诗歌和329篇韵文为考察对象,通过对全部4515个韵段的归纳、整理,得出如下结论:
唐五代晋南诗人近体诗用韵的韵部为28部,其中阴声韵13部,即:支脂之、微、鱼、虞模、齐、佳皆、灰哈、萧宵、肴、豪、歌戈、麻、尤侯幽;阳声韵15部,即:东、冬钟、江、阳唐、真谆、文、元魂痕、寒桓、删山、先仙、庚耕清、青、蒸登、侵、覃谈盐添衔。
唐五代晋南诗人古体诗和韵文用韵的韵部为26部,其中阴声韵8部,即:支脂之微、鱼虞模、齐祭、佳皆灰咍、萧宵肴豪、歌戈、麻、尤侯幽;阳声韵9部,即:东冬钟、真谆臻文欣魂痕元(元暄)、寒桓删山先仙元(言轩)、江、阳唐、庚耕清青、蒸登、侵、覃谈盐添咸衔;入声韵9部,即:屋沃烛、质术栉物没月(歇越)、曷末黠屑薛月(罚钺)、药铎、觉、陌麦锡昔、职德、缉、合盍叶帖狎业乏。
唐五代晋南近体诗用韵与《广韵》独用同用规定大体一致。古体诗和韵文用韵总体上来说较宽松。
唐五代晋南古体诗和韵文用韵中出现一些异摄韵混用现象,如假摄麻韵既与歌戈韵混用,又与佳韵混用,这既有古音的保留,又有实际语音的变化。流摄尤侯韵唇音字和鱼虞模部之间的参差互押,可能与隋唐时期主要元音的迁移变化有关。而止、蟹二摄之间混用,大概是由于两摄各自内部诸韵趋于合流,主元音演变得比较接近所致。元韵既与臻摄相押,又与山摄押韵。相比较而言,元韵与魂痕关系更近一些,这可能是受韵书和功令的影响,而与山摄字押韵则可能是对当时实际语音的反映。
唐五代晋南地区与周边地区诗人用韵的情况基本上符合唐代北方地区的韵部分合情况,尤其是与关中文人用韵比较一致,除个别出韵现象外。
It is one of the important materials for using rhymes of poems to reflect the pronunciation status of special times and some region.Predecessors have worked a lot in the aspect of the using rhymes of poems of Tang Dynasty,which included the study of the using rhymes condition for some poets,such as rhyme series of poems of dufu written by Zhang Shilu,as well as the macroscopical and collective review to the using rhymes of poems for some special times or region in Tang Dynasty,such as a study on the rhyming in the tang dynasty written by Bao Mingwei and a study on the rhyming for poets in luoyang of tang dynasty written by my tutor Hu Anshun,etc.The author found that it is not enough to the study of using rhyme of poets in Shanxi region.Therefore,the author has investigated the using rhymes of poems and verses in South Shanxi of Tang Dynasty,in order to grasp the characteristic of their using rhymes and emerge the actual pronunciation visagion in the native region.
This article observes 2290 poems and 329 verses written by poets of South Shanxi during Tang and Five Dynasty.By analysing and connecting the total 4515 rhyme units,The finding as follows:
There are 28 rhyme parts in modern-style poetry written by poets of South Shanxi in Tang and Five Dynasty,of which there are 13 parts of"Yin Rhyme",including Zhi Zhi Zhi、Wei、Yu、Yu Mu、Qi、Jia Jie、Hui Hal、Xiao Xiao、Yao、Hao、Ge Ge、Ma、You Hou You;there are 15 parts of"Yang Rhyme",including Dong、Dong Zhong、Jiang、Yang Tang、Zhen Zhun、Wen、Yuan Hun Hen、Han Huan、Shan Shan、Xian Xian、Geng Geng Qing、Qing、Zheng Deng、Qin、Yan Tan Yah Tian Xian.
There are 24 rhyme parts in classical-style poetry and verses written by poets of South Shanxi in Tang and Five Dynasty,of which there are 8 parts of"Yin Rhyme",including Zhi Zhi Zhi Wei、Yu Yu Mu、Qi Ji、Jia Jie Hui Hai、Ge Ge、Xiao Xiao Yao Hao、Ma、You Hou You;there are 9 parts of"Yang Rhyme",including Dong Dong Zhong、Jiang、Zhen Zhun Zhen Wen Xin Hun Hen Yan(yan、xuan)、Han Huan Huan Huan Xian Xian Yuan(yan、xuan)、Yang Tang、Geng Geng Qing Qing、Zheng Deng、Qin、Yan Tan Yan Tian Xian Xian;there are 7 parts of"ru rhyme",including Wu Wo Zhu、Zhi Shu Zhi Wu Mo Yue(xie、yue)、He Mo Xia Xie Xue Yue(fa、yue)、Qi,Yao Jue Duo、Mo Mai Xi Xi Zhi De、He He Ye Tie Xia Ye Fa.
We also compared between the rhyme parts in modern-style poerty、classical-style poetry and "Guang Rhyme".Through the comparison,we obtain that the rhymes in modern-style poetry are almost the same as the rhymes in "Guang Rhyme".While the rhymes in classical-style poetry are extend.
Analysing the special rhyme of different parts in classical-style poetry and verses written by poets of South Shanxi in Tang and Five Dynasty.For example:Jia She Ma rhyme is used together with Ge Ge rhyme and Jia rhyme.It is not only the reservation of the ancient pronunciation,but also the characteristics of the dialect.Mixed Rhyme with each other between Liu She You Hou rhyme labial words and Yu Yu Mo rhyme maybe with the major vowel changes of Sui and Tang dynasties.
While the mixed between Zhi She and Xie She perhaps because their respective internal rhyme tend to merge.Yuan rhyme both has used together with Zhen She and Shan She.and it has a nearer relationship to Zhen She Hun Hen rhyme,this may be affected by the impact of rhyme book and rules,and it is used with Shan She at that time may be a reflection of the actual voice.
The Rhyming written by poets in South Shanxi province and the surrounding area of Tang and Five Dynasty is basically in line with the northern part of Tang and Dynasty.especially with the customs of poets in GuanZhong area,with the exception of the individual phenomenon of rhyme.
本文以唐五代晋南地区77位诗人的2280首诗歌和329篇韵文为考察对象,通过对全部4515个韵段的归纳、整理,得出如下结论:
唐五代晋南诗人近体诗用韵的韵部为28部,其中阴声韵13部,即:支脂之、微、鱼、虞模、齐、佳皆、灰哈、萧宵、肴、豪、歌戈、麻、尤侯幽;阳声韵15部,即:东、冬钟、江、阳唐、真谆、文、元魂痕、寒桓、删山、先仙、庚耕清、青、蒸登、侵、覃谈盐添衔。
唐五代晋南诗人古体诗和韵文用韵的韵部为26部,其中阴声韵8部,即:支脂之微、鱼虞模、齐祭、佳皆灰咍、萧宵肴豪、歌戈、麻、尤侯幽;阳声韵9部,即:东冬钟、真谆臻文欣魂痕元(元暄)、寒桓删山先仙元(言轩)、江、阳唐、庚耕清青、蒸登、侵、覃谈盐添咸衔;入声韵9部,即:屋沃烛、质术栉物没月(歇越)、曷末黠屑薛月(罚钺)、药铎、觉、陌麦锡昔、职德、缉、合盍叶帖狎业乏。
唐五代晋南近体诗用韵与《广韵》独用同用规定大体一致。古体诗和韵文用韵总体上来说较宽松。
唐五代晋南古体诗和韵文用韵中出现一些异摄韵混用现象,如假摄麻韵既与歌戈韵混用,又与佳韵混用,这既有古音的保留,又有实际语音的变化。流摄尤侯韵唇音字和鱼虞模部之间的参差互押,可能与隋唐时期主要元音的迁移变化有关。而止、蟹二摄之间混用,大概是由于两摄各自内部诸韵趋于合流,主元音演变得比较接近所致。元韵既与臻摄相押,又与山摄押韵。相比较而言,元韵与魂痕关系更近一些,这可能是受韵书和功令的影响,而与山摄字押韵则可能是对当时实际语音的反映。
唐五代晋南地区与周边地区诗人用韵的情况基本上符合唐代北方地区的韵部分合情况,尤其是与关中文人用韵比较一致,除个别出韵现象外。
It is one of the important materials for using rhymes of poems to reflect the pronunciation status of special times and some region.Predecessors have worked a lot in the aspect of the using rhymes of poems of Tang Dynasty,which included the study of the using rhymes condition for some poets,such as rhyme series of poems of dufu written by Zhang Shilu,as well as the macroscopical and collective review to the using rhymes of poems for some special times or region in Tang Dynasty,such as a study on the rhyming in the tang dynasty written by Bao Mingwei and a study on the rhyming for poets in luoyang of tang dynasty written by my tutor Hu Anshun,etc.The author found that it is not enough to the study of using rhyme of poets in Shanxi region.Therefore,the author has investigated the using rhymes of poems and verses in South Shanxi of Tang Dynasty,in order to grasp the characteristic of their using rhymes and emerge the actual pronunciation visagion in the native region.
This article observes 2290 poems and 329 verses written by poets of South Shanxi during Tang and Five Dynasty.By analysing and connecting the total 4515 rhyme units,The finding as follows:
There are 28 rhyme parts in modern-style poetry written by poets of South Shanxi in Tang and Five Dynasty,of which there are 13 parts of"Yin Rhyme",including Zhi Zhi Zhi、Wei、Yu、Yu Mu、Qi、Jia Jie、Hui Hal、Xiao Xiao、Yao、Hao、Ge Ge、Ma、You Hou You;there are 15 parts of"Yang Rhyme",including Dong、Dong Zhong、Jiang、Yang Tang、Zhen Zhun、Wen、Yuan Hun Hen、Han Huan、Shan Shan、Xian Xian、Geng Geng Qing、Qing、Zheng Deng、Qin、Yan Tan Yah Tian Xian.
There are 24 rhyme parts in classical-style poetry and verses written by poets of South Shanxi in Tang and Five Dynasty,of which there are 8 parts of"Yin Rhyme",including Zhi Zhi Zhi Wei、Yu Yu Mu、Qi Ji、Jia Jie Hui Hai、Ge Ge、Xiao Xiao Yao Hao、Ma、You Hou You;there are 9 parts of"Yang Rhyme",including Dong Dong Zhong、Jiang、Zhen Zhun Zhen Wen Xin Hun Hen Yan(yan、xuan)、Han Huan Huan Huan Xian Xian Yuan(yan、xuan)、Yang Tang、Geng Geng Qing Qing、Zheng Deng、Qin、Yan Tan Yan Tian Xian Xian;there are 7 parts of"ru rhyme",including Wu Wo Zhu、Zhi Shu Zhi Wu Mo Yue(xie、yue)、He Mo Xia Xie Xue Yue(fa、yue)、Qi,Yao Jue Duo、Mo Mai Xi Xi Zhi De、He He Ye Tie Xia Ye Fa.
We also compared between the rhyme parts in modern-style poerty、classical-style poetry and "Guang Rhyme".Through the comparison,we obtain that the rhymes in modern-style poetry are almost the same as the rhymes in "Guang Rhyme".While the rhymes in classical-style poetry are extend.
Analysing the special rhyme of different parts in classical-style poetry and verses written by poets of South Shanxi in Tang and Five Dynasty.For example:Jia She Ma rhyme is used together with Ge Ge rhyme and Jia rhyme.It is not only the reservation of the ancient pronunciation,but also the characteristics of the dialect.Mixed Rhyme with each other between Liu She You Hou rhyme labial words and Yu Yu Mo rhyme maybe with the major vowel changes of Sui and Tang dynasties.
While the mixed between Zhi She and Xie She perhaps because their respective internal rhyme tend to merge.Yuan rhyme both has used together with Zhen She and Shan She.and it has a nearer relationship to Zhen She Hun Hen rhyme,this may be affected by the impact of rhyme book and rules,and it is used with Shan She at that time may be a reflection of the actual voice.
The Rhyming written by poets in South Shanxi province and the surrounding area of Tang and Five Dynasty is basically in line with the northern part of Tang and Dynasty.especially with the customs of poets in GuanZhong area,with the exception of the individual phenomenon of rhyme.
引文
[1]鲍明炜.李白诗的韵系[J].南京大学学报,1957,1.
[2]唐作藩.寒山子诗韵(附拾得诗韵).汉语史学习与研究[C].北京:北京商务印书馆,2001:68-101.
[3]荀春荣.韩愈的诗歌用韵[J].语言学论丛,1982,9:207-257.
[4]李维一等.初唐四杰诗韵[J].语言学论丛,1982,9:285.
[5]周祖谟.唐五代的北方语音.周祖谟学术论著自选集[C].北京:北京师范学院出版社.1993:326.
[1]胡安顺.唐代洛阳诗人用韵考.庆祝《中国语文》创刊50周年学术论文集[C].北京:商务印书馆,2004:209-219.
[2]臧励龢.中国古今地名大辞典[M].北京:商务印书馆,1982:543
[1]周祖譔主编.中国文学家大辞典·唐五代卷[M].北京:中华书局,1992:169
[1]“污”《广韵》去声暮韵,污路切,《集韵》新增平声麻韵,乌瓜切,此处应取麻韵。
[2]“涂”《广韵》平声模韵,同都切,《集韵》新增平声麻韵,余遮切,此处应取麻韵。
[1]《广韵》规定欣独用,唐五代晋南近体诗欣韵仅见3次,两次与真谆相押,另有一次借入删山韵,有违功令规定,现在暂将其归入真谆部中。
[1]王力.汉语诗律学[M].上海:上海教育出版社,2005:44
[2]鲁国尧.元遗山诗词曲韵考.鲁国尧自选集[C].郑州:大象出版社,1999:188-189
[1]唐作藩.唐宋间止、蟹二摄的分合.汉语史学习与研究[C].北京:北京商务印书馆,2001:136
[1]周祖谟.唐五代的北方语音.周祖谟学术论著自选集[C].北京:北京师范学院出版社.1993:322.
[2]王力.汉语语音史[M].北京:中国社会科学出版社,1985:216.
[1]参见王力《汉语诗律学》45页的相关论述。
[2]由于寒桓与山删、先仙的混押只出现在近体诗借韵现象中所以也有可能是语音相近的结果。
[3]王力.汉语语音史[M].北京:中国社会科学出版社,1985:257.
[4]周祖谟.唐五代的北方语音.周祖谟学术论著自选集[C].北京:北京师范学院出版社.1993:323.
[1]司空图这首诗为五言绝句,“惊”“形”皆为偶句韵脚字,故本例既可看作庚韵出韵,也可看作青韵出韵。
[2]王力.汉语语音史[M].北京:中国社会科学出版社,1985:257.
[1]“且”,《广韵》鱼韵,语辞也,子鱼切。
[2]唐王绩著,韩理洲校点.王无功文集[M].上海:上海古籍出版社,1987:75
[1]荀春荣.韩愈的诗歌用韵[J].语言学论丛,1982,9:257
[1]荀春荣.韩愈的诗歌用韵[J].语言学论丛,1982,9:207-257.
[1]储泰松《唐五代关中方音研究》137页的相关论述。
[2]朴柔宣.唐五代河南诗人用韵研究[D].2001.
[3]王力.汉语语音史[M].北京:中国社会科学出版社,1985:154.
[1]储泰松.唐五代关中方音研究[M].安徽:安徽大学出版社,2005:86.
[1]最后两例均出现于柳宗元所作韵文中,皆韵“怀”字押入支微韵,“怀”古为微韵,此两例也可能是柳宗元仿古而作,中古支之微通押,柳宗元认为上古也应如此。殊不知,其实上古支之微三韵分押。这其实是以今律古,对古音不甚了解所导致的,正如王力先生所说“这种做法于古于今皆不合”。
[2]唐作藩.唐宋间止、蟹二摄的分合.汉语史学习与研究[C].北京:北京商务印书馆,2001:137.
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[2]鲍明炜.初唐诗文的韵系.音韵学研究[J].中华书局,1986(2):93
[3]罗常培.唐五代西北方音[M].国立中央研究院历史语言研究所,1993:44
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[31]荀春荣.韩愈的诗歌用韵[J].语言学论丛,1982,(9)
[32]李维一等.初唐四杰诗韵语言[J].语言学论丛,1982,(9)
[33]鲍明炜.初唐诗文的韵系.音韵学研究[J].中华书局,1986(2)
[34]张金泉.敦煌曲子词用韵考.音韵学研究[J].中华书局,1986(2)
[35]荀春荣.柳宗元诗文用韵[J].社会科学战线,1992(4)
[36]钟明立.寒山诗歌用韵研究[J].华南师范大学学报,2003,(2)
[37]朴柔宣.唐五代河南诗人用韵研究[D].南京:南京大学,2001.
[2]唐作藩.寒山子诗韵(附拾得诗韵).汉语史学习与研究[C].北京:北京商务印书馆,2001:68-101.
[3]荀春荣.韩愈的诗歌用韵[J].语言学论丛,1982,9:207-257.
[4]李维一等.初唐四杰诗韵[J].语言学论丛,1982,9:285.
[5]周祖谟.唐五代的北方语音.周祖谟学术论著自选集[C].北京:北京师范学院出版社.1993:326.
[1]胡安顺.唐代洛阳诗人用韵考.庆祝《中国语文》创刊50周年学术论文集[C].北京:商务印书馆,2004:209-219.
[2]臧励龢.中国古今地名大辞典[M].北京:商务印书馆,1982:543
[1]周祖譔主编.中国文学家大辞典·唐五代卷[M].北京:中华书局,1992:169
[1]“污”《广韵》去声暮韵,污路切,《集韵》新增平声麻韵,乌瓜切,此处应取麻韵。
[2]“涂”《广韵》平声模韵,同都切,《集韵》新增平声麻韵,余遮切,此处应取麻韵。
[1]《广韵》规定欣独用,唐五代晋南近体诗欣韵仅见3次,两次与真谆相押,另有一次借入删山韵,有违功令规定,现在暂将其归入真谆部中。
[1]王力.汉语诗律学[M].上海:上海教育出版社,2005:44
[2]鲁国尧.元遗山诗词曲韵考.鲁国尧自选集[C].郑州:大象出版社,1999:188-189
[1]唐作藩.唐宋间止、蟹二摄的分合.汉语史学习与研究[C].北京:北京商务印书馆,2001:136
[1]周祖谟.唐五代的北方语音.周祖谟学术论著自选集[C].北京:北京师范学院出版社.1993:322.
[2]王力.汉语语音史[M].北京:中国社会科学出版社,1985:216.
[1]参见王力《汉语诗律学》45页的相关论述。
[2]由于寒桓与山删、先仙的混押只出现在近体诗借韵现象中所以也有可能是语音相近的结果。
[3]王力.汉语语音史[M].北京:中国社会科学出版社,1985:257.
[4]周祖谟.唐五代的北方语音.周祖谟学术论著自选集[C].北京:北京师范学院出版社.1993:323.
[1]司空图这首诗为五言绝句,“惊”“形”皆为偶句韵脚字,故本例既可看作庚韵出韵,也可看作青韵出韵。
[2]王力.汉语语音史[M].北京:中国社会科学出版社,1985:257.
[1]“且”,《广韵》鱼韵,语辞也,子鱼切。
[2]唐王绩著,韩理洲校点.王无功文集[M].上海:上海古籍出版社,1987:75
[1]荀春荣.韩愈的诗歌用韵[J].语言学论丛,1982,9:257
[1]荀春荣.韩愈的诗歌用韵[J].语言学论丛,1982,9:207-257.
[1]储泰松《唐五代关中方音研究》137页的相关论述。
[2]朴柔宣.唐五代河南诗人用韵研究[D].2001.
[3]王力.汉语语音史[M].北京:中国社会科学出版社,1985:154.
[1]储泰松.唐五代关中方音研究[M].安徽:安徽大学出版社,2005:86.
[1]最后两例均出现于柳宗元所作韵文中,皆韵“怀”字押入支微韵,“怀”古为微韵,此两例也可能是柳宗元仿古而作,中古支之微通押,柳宗元认为上古也应如此。殊不知,其实上古支之微三韵分押。这其实是以今律古,对古音不甚了解所导致的,正如王力先生所说“这种做法于古于今皆不合”。
[2]唐作藩.唐宋间止、蟹二摄的分合.汉语史学习与研究[C].北京:北京商务印书馆,2001:137.
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[2]鲍明炜.初唐诗文的韵系.音韵学研究[J].中华书局,1986(2):93
[3]罗常培.唐五代西北方音[M].国立中央研究院历史语言研究所,1993:44
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[24]周祖谟.敦煌变文与唐代语音.周祖谟学术论著自选集[C].北京:北京师范学院出版社.1993.
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[28]鲁国尧.元遗山诗词曲韵考.鲁国尧自选集[C].郑州:大象出版社,1999.
[29]唐作藩.唐宋间止、蟹二摄的分合.汉语史学习与研究[C].北京:北京商务印书馆,2001.
[30]鲍明炜.李白诗的韵系[J].南京大学学报,1957,(1)
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[32]李维一等.初唐四杰诗韵语言[J].语言学论丛,1982,(9)
[33]鲍明炜.初唐诗文的韵系.音韵学研究[J].中华书局,1986(2)
[34]张金泉.敦煌曲子词用韵考.音韵学研究[J].中华书局,1986(2)
[35]荀春荣.柳宗元诗文用韵[J].社会科学战线,1992(4)
[36]钟明立.寒山诗歌用韵研究[J].华南师范大学学报,2003,(2)
[37]朴柔宣.唐五代河南诗人用韵研究[D].南京:南京大学,2001.