- 學位論文
《四庫全書總目》音韻史觀研究
Graduate Institute of Chinese Bibliography & Textual Criticism
摘要
本論文之寫作目的：1.摘錄出《四庫全書總目》中音韻相關書目，並予以分類，以方便來者在研究音韻時，可在有《四庫全書》與《四庫全書存目叢書》的圖書館中查找材料，增加研究效率。2.透過《總目》中《四庫》館臣的觀點，讓我們了解當時人的音韻史觀，並藉以釐清古代人寫韻文時之用韻觀念。3.提醒音韻研究者，擬上古或中古音對於古籍訓詁自然很有幫助，但是要「確立分時、分域研究的重要性」為基礎才對。不同語音的作品，在擬音時不可混為一談。4.希望能拋磚引玉，激起大家對音韻研究的熱情。惟因筆者此論文多處只將「可能性」提出，短時間無法確定答案，而這些需要大家集思廣益，並且集眾人之力、分進合擊的研究。 本文所選取的《四庫全書總目》版本，為臺北藝文印書館於1997年10月初版八刷的版本。研 究方法乃將與音韻相關條文，依據其內容特性，分成14大項，然後再歸屬於不同章節、標題，接 著則依據各條文逐條分析、闡述，然後小結或總結。由於目的是呈現《四庫》館臣的音韻史觀，所 以論述時會朝這角度來解讀相關問題。 論文內容從《四庫》館臣對古韻、今韻、等韻三者的定義出發，得知館臣對此三者的定義與今 人略有出入，而等韻之法由於是一門利用口語音感分析音韻的學問，不可用於分析古音，所以不受 館臣的青睞，無特殊原因者皆不被《四庫》收錄。各朝官韻的發展趨勢：唐代大致承襲《切韻》， 宋代為《切韻》與時音之折衷，元代突破《切韻》之束縛，明代是以時音為基礎之韻書，而清朝則 重回《切韻》與時音折衷之老路。 館臣對文字與語音關係之認識：知道文字背後蘊含多變的語音，經傳中有方音、方音中亦存有 古語，甚至韻書分部有依據方音而成的。對各朝文人用韻：唐前無必須遵守之官韻書，唐代官韻影 響範圍有限，宋代受官韻影響之人口基數擴大，元代無正式官韻之用韻混亂時期，明代用韻依文體 與對象有不同依據，清代用韻依派別與喜好而有所偏重。從各朝代古詩用韻的情況看來，「寫古詩 用古韻」的觀念，似乎是到明末清初才成為大家遵循的觀念。至於歷代韻書的發展：宋代是等韻書 開始大受重視的時代；元代是等韻書獨占鼇頭的時代；明代時對古音研究有大突破，而方音韻書蜂 出；清代時則古音研究大受重視，而各類韻書也都有所發展。
並列摘要
The aims of this thesis are: 1. Extract the phonetics-related texts from Siku Quanshu(The Imperial Collection of Four) and categorize them to assist future phonology researchers to efficiently access literature in libraries with Siku Quanshu and A Series of Books of Siku Quanshu Existing Catalogue. 2. Reveal the contemporary historical phonetics conception from the perspectives of the Siku editor board in Siku Catalogue to get an insight to the rhyming in ancient writings. 3. Inform phonology researchers that applying onomatopoeia to Old and Middle Chinese phonetics is instrumental in the studies of ancient exegetics, but it should be placed on the basis of “studying distinctively in accordance with time and areas”. When we study onomatopoeia in works with different phonetics, a clear distinction should be supplied in discussion. 4. Draw research attention in the area of phonology. As some parts of the thesis are merely potential research directions, which are still in need of joint efforts of phonology researchers. The Siku Quanshu copy this thesis adopts is published by Yee Wen Publishing Company, the eighth edition printed in early Oct., 1997. The research method of this thesis is to divide the phonetics-related texts in Siku to fourteen items according to its properties in their contents and categorize them into different chapters and titles. Every item is then analyzed, described, and concluded accordingly. In addition, as this thesis aims to reveal the historical phonology conception of the Siku editors, all issues are discussed on this basis. The thesis begins with defining archaic rhyme, modern rhyme, and synchronic phonology in Chinese from the point of view of the Siku editor board. In terms of the three phonological categories, the definitions the Siku editors made are different from the definitions of our time. As synchronic phonology is considered sort of a primitive verbal phonology applied to analyze phonetics, it is inapt to archaic phonetic analysis. Therefore the synchronic phonology was not favored by Siku editors, and completely excluded in Siku without particular explanations. The development of official rhymes adopted in different dynasties are also described: The rhyme in Tang Dynasty inherited Qieyun(spelling rimes) in general, and was combined with the contemporary phonetics in Song Dynasty. In Yuan Dynasty, the official rhyme was relieved from the restrains of Qieyun. Ming Dynasty placed the rhyming basis on the contemporary phonetics, and Qing readopted the mixture of Qieyun and contemporary phonetics. The Siku editors’ knowledge of the relationship between characters and phonology is that they perceive the variant phonetics of the characters: Dialects were found in the classic texts, and the ancient language also appeared in dialects. There were even some dialectical reflexes in rhyming dictionary. The rhyming that writers form different dynasties adopted are described as follows: Before Tang Dynasty, there was no official rhyming dictionary to follow yet. Up to Tang Dynasty, official rhyme was still not spread-out in the writings. In Song Dynasty, the official rhyme became more popular. In Yuan Dynasty, as there was no official rhyme existing, rhyme rules were in a great disorder. In Ming Dynasty, rhymes are different according to the types of writing and the objects. In Qing Dynasty, rhymes are various as different parties have their own preferences. To conclude, from our observation to the rhymes adopted in different dynasties, the concept of “applying archaic rhymes in ancient poems” became prevalence in the end of Ming to the beginning of Qing. As for the development of rhyming dictionary, Song Dynasty is an age that synchronic phonology began to receive great attention. In Yung Dynasty, synchronic phonology dictionary surpassed all other phonology dictionaries of the time. In Ming Dynasty, there was a great leap in the research of ancient phonology, and a great deal of dialectical reflexes dictionaries was compiled. In Qing Dynasty, research in archaic rhyme was highly emphasized, and different rhyming dictionaries were also developed.