陳伯元先生之中古音研究

Abstract

本文以陳伯元先生之中古音研究為主，其主題為先生之聲母、韻母系統，以及等韻學說。陳伯元先生對於這三個議題，撰寫了不少相關著作，如〈《廣韻》聲類諸說述評〉、〈《廣韻》韻類分析之管見〉、《等韻述要》等等。本文蒐集並且整理先生相關論述，與其他學者之主張互相比較，以觀察先生之中古音系統。在聲母系統方面，陳伯元先生根據《廣韻》和方音對照，採納黃季剛先生四十一聲類說，主張泥娘獨立、俟母併入床母、全濁聲母送氣、知徹澄擬為舌面音、莊系字擬為舌尖面混合音等等。陳伯元先生強調聲母擬音，需兼顧現代方言與語音演變的合理性。在韻母系統方面，陳伯元先生重新系聯韻類，並建立書寫與音讀兩套擬音系統。先生的系統根據古籍與四聲相承之理校正了切語，得出二百九十四韻類。然顧及祭韻之寄韻現象，先生之系統應再將咍、海二韻獨立出祭韻之韻類，故應改為二百九十六韻類。擬音部分，注重方言語音演變現象，以及陰陽入對轉相配的關係，使得系統完備。先生更改了輕脣音演變的條件為重脣音加三等合口元音-ǐu-、-ǐo-，以及將臻櫛二韻獨立。並且把部分切語有誤者逐一校正，如將真韻中的合口切語之字剔除，或併入諄韻中等等，以求系統之完整。等韻學部分，先生主張內外轉之關鍵，應在於韻圖上是否有真假二等字。聲韻之正變，則承襲黃季剛先生之說法，主張韻圖上的一、四等為古本紐、古本韻，二、三等為今變聲、今變韻。重紐方面，先生主張為上古來源不同說，認為重紐三等的上古來源為他部古本韻，重紐四等上古來源為本部古本韻者。然而章黃學派所主張的上古來源說，不易解釋侵緝二韻的重紐現象，陳伯元先生遂佐以龔煌城先生之說來加強理論。龔煌城先生認為重紐三等在上古音存在*-rj-介音，重紐四等在上古音存在*-j-介音，這些上古介音在中古音時期已脫落，故重紐三等與四等已無差異，如此亦能解釋侵緝二韻之重紐現象。總的來說，陳伯元先生的研究恪守章黃學派的治學精神，以漢語內部材料為主，又佐以各家的擬音，為章黃學派另闢新徑，注入新的活力。This dissertation investigates Mr. Chen Bo-Yuan's contributions to the phonological system of Middle Chinese, with particular emphasis on his studies of initials, finals, and the Dengyun(等韻) theory. Mr. Chen has written extensively on these topics, including works such as A Review of Various Theories on Initial Categories in the Guangyun(廣韻), An Analysis of the Rhyme Categories in the Guangyun(廣韻), and An Introduction to Dengyun(等韻) Theory. This study collects and organizes Mr. Chen's relevant discussions, comparing them with the views of other scholars to examine his system of Middle Chinese phonology.Regarding the initial system, Mr. Chen adopts Mr. Huang Ji-Gang's framework of forty-one initial categories based on the Guangyun(廣韻) and dialectal comparisons. He proposes that Ni(泥) and Niang(娘) remain separate, the Si(俟) initial merges into the Chuang(床) initial, voiced initials are aspirated, Zhi(知), Che(徹), and Cheng(澄) are palatal sounds, and the Zhuang-series(莊系) initials are reconstructed as a mixture of apical and palatal articulations. Mr. Chen emphasizes that reconstructions of initials should take into account both modern dialects and the logical patterns of phonological evolution.Regarding the vowel system, Mr. Chen reclassifies rhyming categories and establishes two reconstructed systems: one for written forms and the other for phonetic readings. His system, rooted in ancient texts and the principle of tonal continuity, refines traditional fanqie spellings, identifying 294 distinct rhyme categories. His approach to reconstruction highlights phonological evolution observed in dialects and the relationships between corresponding phonetic shifts, thereby enhancing the completeness of the system. Key features of his theory include redefining the conditions for labialized consonants as labialized stops combined with third-division rounded vowels and treating the Zhen(臻) and Jie(櫛) rhyme groups as independent categories.In Dengyun(等韻) theory, Mr. Chen addresses topics such as Neiwai Zhuan(內外轉), Zhengbian(正變) of initials and finals, and Chongniu(重紐). He argues that the distinction between Neiwai Zhuan(內外轉) lies in whether rhyme charts exhibit true and false second-division characters. For Zhengbian(正變), he follows Mr. Huang Ji-Gang's proposal that first and fourth divisions in rhyme charts correspond to original initials and finals, while second and third divisions represent later developments. Regarding Chongniu, Mr. Chen initially proposed that third-division Chongniu(重紐) initials originated from other rhyme groups, while fourth-division Chongniu(重紐) initials came from original vowels and initials of their respective rhyme groups. Later, he adopted Mr. Gong Huang-Cheng’s view, proposing that in Ancient Chinese, third-division Chongniu(重紐) categories featured an -rj- medial glide, while fourth-division ones featured a -j- glide. These ancient medial elements disappeared by the Middle Chinese period, resulting in no distinction between third- and fourth-division Chongniu(重紐).Overall, Mr. Chen’s research adheres to the scholarly rigor of the Zhang-Huang school, drawing primarily from internal Chinese linguistic materials while incorporating modern phonological theories, pioneering new directions, and revitalizing the Zhang-Huang tradition.