摘要
清初康熙年间,南北方曲韵发展迅速,代表了社会的一种主流文化潮流,呈现出了一派繁荣昌盛的局面。这时期,诞生了不少优秀的戏曲作品,大量的戏曲研究和编剧理论也随之产生。因为戏曲作品的趋于口语性,所以在说唱娱乐之余,自然也深受民众喜好。从某种程度上讲,清初韵书《音韵清浊鉴》的作者便受这文化氛围的启发,遂在编制其韵书框架时,选取了广为人所熟知的《中原音韵》十九韵部,并作了些合乎时音的增益,形成二十一韵部的综合格局。虽然该书更多地是在强调字音的正读,但作者对当时戏曲元素的渗入和对民众口语的采纳,无疑使得《音韵清浊鉴》一书带有浓郁的曲韵和口语化色彩。该书所体现出来的韵部协和性、闭口韵的保留和尖团音的分辨严整等特征对我们研究清初北方的地方戏曲文化还是有参考价值的。
During the Kangxi period in the early Qing Dynasty, the development of the rhyme in the north and the south was rapid, which represented a mainstream cultural trend of society, showing a prosperous situation. This period, it existed a lot of good opera works, meanwhile produced a lot of drama research and screenwriter theory. Because the traditional works tended to speak, so in the rap entertainment, naturally also was popular with the public. To a certain extent, the author of the Qing Dynasty rhyme book Yinyunqingzhuojian of the author must be inspired by this cultural atmosphere, then in the preparation of its rhyme book framework, selected a widely known Zhongyuanyinyun 中原音韵 And made some adjustments, formed the formation of twenty-one rhyme of the time pattern. Although the book was more emphasis on the pronunciation of the positive reading, but the author of the elements of the opera at the infiltration and the adoption of public speaking, no doubt maked the Yinyunqingzhuojian a book with a strong rhyme and colloquial color. The book embodied the rhyme harmony, the retention of the closed rhyme and the clarity of the knot and so on. We were still of reference to the study of the local opera culture in the early Qing Dynasty.
出处
《聊城大学学报（社会科学版）》
2017年第4期36-43,共8页
Journal of Liaocheng University:Social Science Edition
