院長佮民調－試析泉腔去聲不分陰陽

本文是就(tsiū)現代生活中一般人講台語所發生的(ê)聲調問題提出來討論。主要討論台語「第7聲讀做第3聲」、「第7聲連讀變做第2聲」是泉州腔「海口腔」的講法，並毋(m̄)是講毋著，後一項才有可能是濟少受「國語」的影響。全文分做五項來論述：一、有人講台語「第7聲讀做第3聲」、「第7聲連讀變做第2聲」是毋著的，後者是受「國語」的影響；毋拘，我鹿港人就(tióh)是安爾講。二、分析台語的聲調，目前大多數人講的佮台語教學，是以倚(uá)漳州腔的聲調為主；毋拘，嘛有幾个泉州海口腔（本文以鹿港腔做例）保存「去聲不分陰陽」，所以陽去（第7聲）本調佮變調就參倚漳腔無仝(kâng)。紲落分析鹿港腔的第7聲有的連讀變做第2聲，有的連讀變做第3聲（海口腔是第6聲），原因是鹿港腔有第6聲（漳腔無第6聲），若是本來是第6聲的，變調了野是低(kē)調（第6聲）；若是本來是第7聲的，變調就變做第2聲；嘛有一寡例外，野是低調。三、語言的改變：國語是強勢語言，台語是弱勢語言。海口腔老一輩的野濟少保留古泉腔「去聲不分陰陽」，所以陽去本調讀做「民調(tiàu)」，變調讀做「院(í(上標 ⁿ))長」，不是受國語的影響；中青年輩因為讀國語慣勢矣，就共(kā)國語的聲調帶入台語，講做「院(í(上標 n))長」，「院」讀國語的第4聲（去聲，41），參台語的第2聲(51/53)差不多。四、用文獻（四本歌仔冊）來證明有「泉腔去聲不分陰陽」的例。五、台語聲調教學的系統性，漳、泉的聲調系統本來就無啥共(kāng)款，若卜用一个標準（比如倚漳腔）來解說無仝的地方腔（親像比漳腔較複雜的泉州腔），就真食力閣顛倒花(hue)。上好是分開來看，「漳是安爾(no^0)」，「泉是安爾」，才袂(buē)愈敨(tháu)愈亂。結論除了提示本文的要點以外，閣以台語演講比賽來做例凸現泉腔的複雜，向(ǹg)望評審者對台語各地的腔調有深入的了解，才較有公平、公正的評審。

關鍵字

漳腔；泉腔；本調；連讀變調；去聲不分陰陽

並列摘要

This paper focuses on the tone issue of Taiwanese, mainly the phenomenom that ”tone 7 spoken as tone 3” and ”the sandhi of tone 7 spoken as tone 2” in the Hai-khau accent of the Tsuan-tsiu accent are both correct, and the latter is probably influencd by Mandarin. The paper is divided into 5 sections:a). Some say that ”tone 7 is spoken as tone 3” and ”the sandhi of tone 7 is spoken as tone 2” are wrong, but the people from Lok-kang do speak this way.b). Some of the sandhi of tone 7 is spoken as tone 2, and some words in tone 7 is spoken as tone 3 (but there is tone 6 in the Hai-khau accent). The reason is that there is tone 6 in the Lok-kang accent, but there is no tone 6 in the Tsiang-tsiu accent. If the basic tone is tone 6, the sandhi will be tone 6, but if the basic tone is tone 7, the sandhi will be tone 6. But there are some exceptions.c). Changes in the language: Mandarin is spoken dominantly in Taiwan. Therefore, some young people are influenced by Mandarin. The sandhi of tone 7 is spoken as tone 2: ”inn7-tiunn2” is spoken as ”inn2-tiunn2.”d). To prove the theory of ”no distinction between im(yin) and iong(yang) in the falling tone of the Tsuan-tsiu accent” with examples from four kua-a (traditional songs) booklets.e). The tone systems of the Tsuan-tsiu accent and Tsiang-tsiu accent are different; therefore, the teaching of the two systems should be seperated, to avoid confusion and misrepresentation.