韻圖的修辭―從命名隱喻看韻圖的設計理念及其歷時變異

Abstract

本文旨在藉由韻圖命名隱喻探究韻圖的修辭理據，擬參照認知語言學的「認知模型」（cognitive model）理論，以韻圖的命名隱喻為切入點，藉以觀察韻圖的形制差異及其設計理念。全文內容分為兩大部分：首先，以三種不知撰人的宋代韻圖―《韻鏡》、《四聲等子》及《切韻指掌圖》為對象，這些韻圖在流傳過程中，因不斷經由使用者遞相增補、層層積累，其原圖舊式或許已逐漸模糊，但仍可料想韻圖名稱應是相對穩固，若能根據其命名隱喻，一方面分析喻體的認知模型，另一方面檢視韻圖中特殊的分類、排序、術語或標號，或可從兩者的映射關係中，窺探韻圖編撰者的設計理念及其創意；其次，觀察明、清等韻學之蓬勃發展，不僅韻圖形態多種多樣，且往往被賦予超越實用層面的功能與意涵，本文擬對比宋、元韻圖與明、清韻圖之名稱差異，觀察兩者在命名隱喻上的顯著變化，並試著從音韻思想史的觀點解釋其中原因。

This paper investigates the rhetorical evidence by exploring the naming metaphor of the rime table and, based on the cognitive linguistics of the cognitive model, observes the formal differences and the design idea of the rime table from the perspective of the naming metaphor. The content can be divided into 2 parts: first, the 3 anonymous books of the rime table written during the Song Dynasty—Yunjing, Sishen Dengzi, and Qieyun Zhizhang Tu—are discussed. Because of the additions of users throughout several generations, the original version of the table remains unclear. However, we can discern the design idea and the creativity of the editors of the table based on their naming metaphor, through analysis of the cognitive model of the vehicle and by surveying the particular categorization, sequencing, terminology, or punctuation. Second, observing the development of phonology during the Ming and Qing Dynasties shows that the rime table was dynamically developed, and was endowed with a function and signification that transcended the practical dimension. Hence, this paper compares and contrasts the naming metaphor of the rime tables between the Song-Yuang Dynasty and the Qing Dynasty. In addition, we explain the cause from the perspective of the history of phonological thought.