《詞韻略》與詞韻流派傳衍考論

自沈謙《詞韻略》創立以詩韻為尺度、結合宋詞用韻的抽樣調查這一製韻方法以來，被其裔派宗奉不疑，並由此出現系列的詞韻書籍，使得詞韻漸次稱為專門之學。《詞韻略》的派外製作，如吳烺《學宋齋詞韻》、吳寧《榕園詞韻》、李漁《笠翁詞韻》等，雖對之做了局部的修訂，如韻書尺度和韻部分合原則的調整等，但還是在諸多方面受其影響，大體上遵循其製韻思路。清代詞韻之學的成就是巨大的，在與詞樂完全脫離，而詞的韻法面臨失範的關鍵時刻，《詞韻略》及其裔派創為規範，使詞的文體特徵得以維繫，從而推動了詞的復興，使清初順康詞壇再次煥發勃勃生機。詞學家們持續不斷的探討和實踐，讓詞韻製作保持了創新的活力，最終迎來戈載《詞林正韻》這一嚴謹求實、理論成熟的頂峰之作。詞韻之學的成熟與發展，也直接影響到晚清民初的詞學再興。但清代詞韻過於注重實用性，滿足於對填詞的指導，沒能探索出從兩宋詞人用韻之實際情形的窮盡考察中歸納出其聲韻體系，製作無復依傍的詞韻這一更加科學的製韻思路。

關鍵字

詞韻略；沈謙；清代；詞韻；詞林正韻

並列摘要

Shen Qian's 沈謙 A Concise Introduction to Ci Rhyme 詞韻略 was a rhyming dictionary that established a way of making rhymes based on the standard rhyming used in shi 詩 poetry, combined with samples of Song ci's 宋詞 use of rhyme. Following its publication, it was held up as a model by later schools, and subsequently a series of books on ci rhyme appeared, causing the study of ci rhyme to gradually emerge as a specialism in its own right. Similar dictionaries created by other schools partially revised A Concise Introduction to Ci Rhyme, such as Wu Lang's 吳烺 Xue Song Zhai Ci Rhyme 學宋齋詞韻, Wu Ning's 吳寧 Rong Yuan Ci Rhyme 榕園詞韻, and Li Yu's 李漁 Li Weng Ci Rhyme笠翁詞韻. These revisions included, for example, selecting as models other ci rhyming dictionaries, and making adjustments to rhyming principles. However, they were still in many aspects influenced by A Concise Introduction to Ci Rhyme, and generally followed its rhyme-making logic. The achievements of Qing 清 dynasty ci rhyming dictionaries were great. At the crucial moment when ci had become divorced from music, and the form faced losing its rhyming pattern, A Concise Introduction to Ci Rhyme and its successors established a standard for ci rhyme, so that its stylistic features could be maintained. This spurred a resurgence in ci, infusing ci poetry circles of the early Qing with a new vitality. Ci scholars continually explored and practiced writing ci, and maintained a creative energy in their works on ci rhyme, finally culminating in Ge Zai's 戈載 Accurate Ci Rhyme詞林正韻, a landmark work of theoretical maturity and practical rigor. This maturity and development of ci scholarship also directly helped to generate renewed interest in ci studies during the late Ming明 and early Republican era. However, generally speaking, in the Qing dynasty too much weight was given to practicality in ci rhyme, and scholars were satisfied with providing guidance in how to write ci in the correct pattern. None were able to induce a sound system from exhaustive studies of how rhyme was really used by ci writers in the Song, and find a more scientific approach that facilitated creating rhymes that were not just slavish imitations.