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王念孫《群經古韻譜》운례 연구 : 《易》、《大戴禮》、《禮記》를 제외한 나머지 비운문체 경전의 예에서
도혜숙(Hye Sook Toh) 한국중국문화학회 2022 中國學論叢 Vol.- No.73
청대고음학자들은 고음 연구에서 운문 외에도 군경 즉 비운문체에 보이는 운례를 귀중한 연구 대상으로 삼는다. 王念孫이《古韻譜》에서는 21부를 주장하였으나 후에 冬部 독립을 인정한 점을 재조명하고자《群經古韻譜》의 운례 분석을 통해 冬部 독립의 근거를 제시하였다. 王念孫의《古韻譜》군경 부분의 압운 현상을 근거로 고음을 22부로 분석하였다. 운례의 운용 면에서 압운자에 대한 수정 보완이 필요한 부분은 바로잡았다. In addition to rhymes in high-pitched studies, Qingdao scholars make rhymes seen in Qunjing, a valuable subject of study. In order to re-examine the fact that 冬部 claimed 21 in GuYunpu, but later recognized 冬部 independence, the basis for 冬部 independence was presented through QunjingGuYunpu s precedent analysis. Based on the GuYun phenomenon in the Qunjing part of GuYunpu, the high note was analyzed as 22. In terms of the operation of Yunli, the parts that need to be revised and supplemented for Yayunzi were corrected. 清代古音學者在研究古音時,除了韻文以外,還把群經即非韻文體中出現的韻例當作寶貴的研究對象。無論是詩和散文同時出現,還是散文在詩之後出現,在詩本身具備韻文體系之前階段,詩和散文在形式上相對無法區分,因此在中國古代文獻中散文裏也會出現押韻現象。 王念孫的《古韻譜》裏收錄了《詩經》、群經、《楚辭》的韻例。韻例主要出現在韻文,但在先秦時期群經中也不難找到。由於清代古音學者以研究方法重視韻例,群經中的韻例是研究先秦時期古音的珍貴資料。 王念孫在《古韻譜》主張二十一部,但後來重新審視冬部獨立這一點,通過分析群經韻例,提出了冬部獨立。本稿根據王念孫的《古韻譜》群經部分的押韻現象,將古音分析爲二十二部。從《群經古韻譜》中獨立出來冬部,再編成二十二部。這研究結果與王念孫最終主張的二十二部相合乎邏輯。由此與《合韻譜》中主張的二十二部一致,王念孫最終認可的冬部從東部獨立出來,命名爲《群經古韻譜》第二冬部。
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도혜숙(Toh, Hye-Sook) 중국문화연구학회 2021 중국문화연구 Vol.0 No.51
『Liji』 is a compilation by Daisheng and is one of the five scriptures. It is classified as 『DAdailiji』 and is called 『Xiaodailiji』 and has a total of 49 chapter. 『Liji』 is both prose style and verse rhyme, which is valuable material for the study of ancient phonologist notes. The researchers of Qingdai regarded the analysis of verse in ancient phonologist studies as a method of study. Wang-Niansun’s 『Guyunpu』 also contains examples from『Shijing』, Qungjing, and 『Chuci』. This paper considered the rhyme concept of 『Guyunpu』, using the rhyme of 『Liji』as the subject of study among 『Liji』’s works. The fact that 『Liji』 has 270 rhymes in rhyme is a repository of ancient phonolog research materials. Wang Nien-sun, an ancient phonologist, it is believed that this part was highly valued for its research value. The research method first identified the corresponding rhyme by comparing rhyme of 『LijiGuyunpu』 with the original 『Liji』. After analyzing ‘Heyunli’ from each rhythmical part of 『LijiGuyunpu』, the association with the rhyming phenomenon was studied. The frequent appearance of ‘Guzhongyunli’ and ‘Gushouyunli’ in Wang-Niansun’s 『Guyunpu』 indicates that it was not strictly rhymed. In other words, it is also an opportunity to be criticized for its excessive application for the independence of the rhythmical part. Wang-Niansun claimed ‘21Bu’ in 『LijiGuyunpu』. Later in 『LijiHeyunpu』, ‘DongBu’ was claimed independently in ‘22Bu’. Thus, in this paper, ‘DongBu’ was independently reconstructed in ‘22Bu’ in 『LijiGuyunpu』.
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都惠淑 한국중국문화학회 2000 中國學論叢 Vol.10 No.-
考古音的資料與方法, 蓋大部分淸儒都用之, 然沒有歸納整理而已. 許瀚已提到求古音之道有八例, 許氏在 <求古音八例設> 云 : [一日諧聲, 二日重文, 三日異文, 四日音讀, 五日音訓, 六日疊韻, 七日方言, 八日韻語.] 有了許瀚的八例之後, 不少古音學者如劉□, 魏建功, 張世祿, 陳師新雄亦言及過基求古音之法. 他們所言雖有數目上的多寡, 但基內容大多不出許氏所言範圍. 劉逢祿考證古音時所用的主要資料以三百篇僞主, 幷重視基他群經, 傳記, 周秦諸子之書和設文諧聲等 ; 基主要方法以押韻現象爲主, 而亦重視諧聲系統以及漢儒音釋等. 劉氏從這些資料與方法上得到古韻二十六部的分部結果. 河九盈先生在 <<中國古代語言學史>> 云 : [淸代的古音學者之所以能取得空 前的成就, 在理論上受到明代的陳第, 焦□的 "古詩無協音" 的啓迪, 在實踐中, 又經過幾輩人的努力, 總結出了一套行之有效的方法.] 何九盈先生所言的 "一套行之有效的方法", 蓋指爲如下三點. 一, 詩韻系聯法 吳 域 : 援 <詩>, <易>, <楚辭> 以求古音之正, 其功已不細. 顧炎武 : <詩本音>, <易音>, 對押韻的字一一注明. 張惠言 : 所稱 "絲聯繩引法", 就是詩韻系聯法 二, 諧聲類推法. 雖未能盡得六書諧聲之原本, 而後儒因是. 徐?在 <韻補> 序言中, 明確提出了諧聲同韻的原則. 此原則對淸代學者而言, 開了探求古韻的一個重要方法. 淸朝人槁的諧聲表就導源於此. 此方法至段玉裁 <古十七部諧聲表> 更加以表彰. 三, 古今 (今, 指 <廣韻> ) 韻比較法. 這種對比分析的有效方法就是從離析唐韻入手, 以觀察古今音的變化, 進而□立 "古本音". 離析唐韻以推求上古音的方法, 首創之功應歸於顧炎武. 劉逢祿的硏究資料與方法也沒有超過此範圍, 從 <詩聲衍> 二十一條中可得劉氏所用的若干資料與方法之例. 本文的硏究目的在分析劉逢祿的古音硏究方法與其所用資料情況. 劉氏未有直接言及之故, 參照古音學者所歸納的諸條, 而分析歸納劉氏的硏究方法, 則得到五條. 其五條爲古代韻文, 諧聲偏旁, 設文重文, 方言, 韻書韻目. 此五條中, 劉氏較多用之方法是前三條.
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