由＜奉同源澄才子河原院賦＞的格律論源順對漢宇聲調的掌握
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Date
2007-09-??
Authors
吳聖雄
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Publisher
國文學系
Department of Chinese, NTNU
Department of Chinese, NTNU
Abstract
本文以源順〈奉同源澄才子河原院賦〉為對象，觀察他對漢語聲調所反映的語感。首先對〈河原院賦〉的格律作分析；指出它在字數、結構、用韻以及句末平仄等方面的特徵；並與《作文大體》與《賦譜》的記載作比較，探討〈河原院賦〉格律的淵源。其次分析〈河原院賦〉句中平仄的安排，指出源順會注意對句的平仄對仗，也會注意句中的平仄錯落，而若干平仄不和諧的現象則大致集中在文章的後半部。配合「省試詩論」與「鬪詩行事」的線索，本文認為：源順可以在知識上把握漢語的聲調，但在語感上則有明顯的落差。
This paper investigates the Japanese writer Minamoto Sitagau's intuitions on Chinese tones reflected in his work “Fong-tong Yuan-cheng Cai-zih He-yuan-yuan Fu 奉同源澄才子河原院賦”. The paper starts by making an analysis on the prosodic schemes utilized in “He-yuan-yuan Fu 河原院賦”, and identifies its characteristics in syllable number, structuring, rhyming practice, and terminal tonal modulations. A comparison is then made between these and those recorded in the two literary guidebooks “Zuo-wun-da-ti 作文大體” and “Fu-pu賦譜” in order to trace the possible origins Minamoito's prosodic schemes. Exploring next the arrangements of level vs. oblique tonal modulations in “He-yuan-yuan Fu”, this paper points out that Minamoto did pay attention to matching and manipulating the level-oblique tonal oppositions across doublets and within the same sentences. However, some disharmonious arrangements of level-oblique tones have been observed, which are found mainly toward the latter half of this poetic work. Evidence provided by two relevant contemporary historical documents “Sheng-shih-shih-lun 省試詩論” and “Dou-shih-sing-shih 鬪詩行事” showed that Minamoto was generally knowledgeable about poetic use of Chinese tones, but he apparently faltered at the performance level when he dealt with more complicated verses like “He-yuan-yuan Fu”.
This paper investigates the Japanese writer Minamoto Sitagau's intuitions on Chinese tones reflected in his work “Fong-tong Yuan-cheng Cai-zih He-yuan-yuan Fu 奉同源澄才子河原院賦”. The paper starts by making an analysis on the prosodic schemes utilized in “He-yuan-yuan Fu 河原院賦”, and identifies its characteristics in syllable number, structuring, rhyming practice, and terminal tonal modulations. A comparison is then made between these and those recorded in the two literary guidebooks “Zuo-wun-da-ti 作文大體” and “Fu-pu賦譜” in order to trace the possible origins Minamoito's prosodic schemes. Exploring next the arrangements of level vs. oblique tonal modulations in “He-yuan-yuan Fu”, this paper points out that Minamoto did pay attention to matching and manipulating the level-oblique tonal oppositions across doublets and within the same sentences. However, some disharmonious arrangements of level-oblique tones have been observed, which are found mainly toward the latter half of this poetic work. Evidence provided by two relevant contemporary historical documents “Sheng-shih-shih-lun 省試詩論” and “Dou-shih-sing-shih 鬪詩行事” showed that Minamoto was generally knowledgeable about poetic use of Chinese tones, but he apparently faltered at the performance level when he dealt with more complicated verses like “He-yuan-yuan Fu”.