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本文以慧琳《一切经音义》(810成书)一百卷中转录改订玄应《一切经音义》(660年代初成书)二十五卷内容中牵涉到声调差异的反切为基本材料探讨唐代京都长安的声调演变轨迹。经分析排比字例,发现慧琳改订反切声调的混同系统具有阳上阳去相涉、阳平阳去相涉、阴平阴去相涉、阳平阳上相涉的四个特点,集中体现了除上声外,次濁与全清次清一类和阴阳各自相混的两个倾向。阴调阳调各自相混并非汉语声调变化的普遍规律,但西安现代方言濁上归濁去、濁入归阳平、清入(包括次濁)归阴平等阴阳声调同类合流的演变结果跟慧琳改订反切体现的倾向既是一脈相承的,也保留了其区别于其他方言的濃厚的类型色彩和古典色彩。四声的阴阳调分化兴起于唐代,形成一种原动力,导致近代汉语以来各方言声调的增加和重组。
In this article, we take Hui Lien's “All Scriptures and Sounds” (810% of the books) as the basic material for transcribing and revising the twenty-five volumes of “All Scriptures and Sounds” Chang's tone evolution trajectory. After analysis of the ratio of words and phrases, found that Hui Lin revise the rambunctious mixing system with Yang Shangyang related, Yang Pingyang related, Yin Pingyang related, Yang Ping Yang related four characteristics, focused on the addition to the sound In addition, sub-turbid and clear all-clear one kind and yin and yang mixed two tendencies. However, the common rules of the tone changes of the tone of the yin and yang are not common in the Chinese dialects, The embodied tendencies are not only the same strain but also the strong type and classical colors that distinguish them from other dialects. The tone of yin-yang of the four tones began to rise in the Tang Dynasty, forming a kind of driving force that led to the increase and reorganization of tone of each dialect since modern Chinese.