摘要
元代戏曲家周德清编撰的《中原音韵》是中国戏曲史上的一部重要著作,同时也是研究元代汉语语音的一份重要材料。通过研究《中原音韵》可知,当时的汉语通语是有入声的。文章对《中原音韵》中"入派三声"的论述做了讨论,指出:1."入派三声"不意味着"入变三声",它是北曲的艺术语言或演唱语言里的事,不是当时的生活语言即口语里的事,有一定的人为成分。2.《中原音韵》的"入声作上声"有活语言为基础。3.从流传于12—13世纪的三种诸宫调中的入派三声情况以及对音、韵书等《中原音韵》以外的其他语言材料也可看出,《中原音韵》时代的汉语通语还有入声。
Zhongyuan Yinyun by Zhou Deqing is an important opera work in the Yuan Dynasty and also an important document which serves to study the Chinese phonetics. A study of this book tells that there was the entering tone in the then Chinese language. Zhongyuan Yinyun points out that the split of the entering tones is not changed into the other three tones; it is part of the artistic language rather than of the daily or spoken language. To take the entering tone as the rising tone has its root, the current Muping dialect in Shandong being a definite example. An analysis of the three Zhugongdiao （a style of songs prevalent in the 11th century） popular in the 12th and 13th centuries and the evidence of other transliterated materials from other ethnic minorities＇ languages prove the existence of the entering tone in the Chinese at that time.
出处
《新疆大学学报（哲学社会科学版）》
CSSCI
2016年第2期151-156,共6页
Journal of Xinjiang University(Philosophy and Social Sciences)
关键词
《中原音韵》
周德清
入声
入派三声
Zhongyuan Yinyun, Zhou Deqing, Entering Tone, Split of the Entering Tone
