宋元等韻門法研究

A Study on Děngyun menfǎ in the Song and Yuan Dynasties

白右尹(Yu-yin Pai)

指導教授 ： 李存智

國立臺灣大學/文學院/中國文學研究所/碩士(2014年)

https://doi.org/10.6342/NTU.2014.02099

摘要

所謂等韻門法，是利用韻圖切字的方法。一切被稱為門法的條文，其內涵一定是討論反切上下字的拼合問題，也就是《守溫韻學殘卷》所謂「聲韻不和、切字不得」這項原則。
本文考明許多等韻術語的涵義，較重要者如：所謂「重輕」，指的是反切中一、二、四等與三等對立的現象，重屬一、二、四等，輕屬三等。當反切上下字重輕不同時，該反切即為類隔切，必須要改讀上字讀音，才能切出正音。又如「歸字」二字，意思是切字。《韻鏡．歸字例》即「切字例」之意，而文中所論也就是利用韻圖切字的方法，是等韻門法的雛形。
從《守溫韻學殘卷》開始，經過數百年的發展，最終形成了《四聲等子》、〈門法玉鑰匙〉中的十三門法。這十三條門法處理了反切在韻圖中的各種正則列字狀況，而其製作原因不出「訂正反切」與「處理借位」兩種情況，也就是等韻門法的兩大類型。在前人的研究中往往有廢去某條門法的說法，但其實這十三條門法彼此互相照應，絕不可能缺少任何一條。
明清以來，對等韻門法有許多負面的批評，而較少發掘其中的價值。本文以等韻門法的歷時演變為線索，嘗試解釋各項門法材料的真正涵義，希望能夠為門法研究提供新的視角。

關鍵字

等韻門法 ； 等韻圖 ； 《守溫韻學殘卷》 ； 《韻鏡》 ； 《解釋歌義》 ； 《四聲等子》 ； 《切韻指南》

並列摘要

Děngyùn Ménfǎ guidance refers to the method to spell fǎnqiè symbols by utilizing the rime table. Every article termed as Ménfǎ guidance is focus on discussing the issue how to assemble the upper and the lower fǎnqiè symbols together, which is exactly the p rinciple, “as if consonant and rime are not in harmony, a syllable can be hardly available ”, in Shǒuwēn fragments.
The present thesis definitely determines the actual meanings of multiple terminologies used in Děngyùn Ménfǎ guidance. For example , the terminology “heavy and light” defines an opposite assembly status in fǎnqiè system, that is the first, second and fourth ranks belong to“heavy” status, but third rank oppositely belongs to “light” status. It is defined as a Lèigéqiè in fǎnqiè system as if the upper and lowe r fǎnqiè symbols belong to neither the “heavy” status nor“light” status, and a correct pronunciation thereof is derived by modifying the pronunciation for the upper fǎnqiè symbol. An additional example is that the word termed as “Guīzì” refers to “fǎnqiè spelling”. “Guīzìlì” on the Yùnjìng refers to “the rules of fǎnqiè spelling”, which illustrates the method to spell fǎnqiè by utilizing the rime table, and is the prototype of Děngyùn Ménfǎ.
Started from Shǒuwēn fragments, in hundreds of years of development, there are thirteen Ménfǎ eventually formed in Sìshēng děngzi and Qièyùn zhǐnán. The thirteen rules of Ménfǎ well deal with the regular situations for fǎnqiè symbols in rime table. and the motivation to raise them is in subject to the two conditions: to corre ct fǎnqiè and to process “Jièwèi”, which are two kinds of major types in Děngyùn Ménfǎ. In the previous researches, there existed an argument that some of Ménfǎ rules may be omitted. As a matter of fact, the thirteen Ménfǎ rules are very closely correlated with each other, and none of them shall be regarded as lackable.
Since the Míng and Qīng dynasties, there are many negative criticisms about Děngyùn Ménfǎ but the discoveries about the merits existing in it. The present thesis humbly tries to illustrate the actual meanings of contents in Ménfǎ, and hopefully provide a novel point of view for the study of Děngyùn Ménfǎ, based on the relevant available materials remained during the historical evolution of the Děngyùn Ménfǎ guidance.

並列關鍵字

Děngyun menfǎ ； Rime table ； Shǒuwēn fragments ； Yunjing ； Jiěshi gēyi ； Sishēng děngzi ； Qieyun zhǐnan

參考文獻

孔仲溫，1994：〈敦煌守溫韻學殘卷析論〉，《聲韻論叢》第1輯，頁269-296。

孔仲溫，1994：〈論《韻鏡》序例的「題下注」「歸納助紐字」及其相關問題〉，《聲韻論叢》第1輯，頁321-344。

王松木，2013：〈韻圖的修辭─從命名隱喻看韻圖的設計理念及其歷時變異〉，《師大學報：語言與文學類》，58卷，頁135-170。

吳聖雄，1999：〈張麟之《韻鏡》所反映的宋代音韻現象〉，《聲韻論叢》第8輯，頁245-274。

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