崔致遠漢詩音韻風格研究

Abstract

本論文研究崔致遠（855-？）漢詩音韻風格，分別就「韻腳」、「頭韻」、「雙聲疊韻」與「平仄設計」四大面向針對全部127首漢詩進行探討，並就此四大面向與晚唐中土詩人李商隱、杜牧進行比較。研究結果顯示，在韻腳方面，崔詩絕大多數漢詩的用韻皆符合近體詩韻系統，少部分不符合近體詩韻的詩篇中以「寒桓+山刪」合韻模式為最多，可視為其代表性的合韻模式；頭韻方面，不論頭韻的組數為何，皆以舌根音的頭韻占最大宗，這點與中土詩人呈現者相同；雙聲疊韻方面，雙聲與頭韻一樣都是以舌根音為最多，疊韻部分「陰聲韻」與「陽聲韻」旗鼓相當，「入聲韻」則特少，顯示崔氏並不偏好單獨使用入聲韻；平仄設計方面，崔詩絕大部分詩篇皆完全合律（共105首），另有12首少部分不合律與10首過半不合律，與杜牧僅有1/2強完全合律可謂天壤之別，可歸因於兩人對於漢語聲、韻、調以及近體詩格律的掌握程度，而兩人的相同之處在於透過不合律的平仄鎔鑄各自的個人風格。This thesis studies the phonological style of Chinese poetry which was written by Cui Zhiyuan 崔致遠 (855-?). We discuss all 127 Chinese poems in terms of four aspects:"rhyme", "alliteration", "shuang sheng 雙聲 & die yun 疊韻" and " designation of level and oblique ", and compare these four aspects with the Chinese poets Li Shangyin 李商隱 and Du Mu 杜牧 in the late Tang Dynasty. The research results show that in terms of rhyme, the rhyme of most of Cui's Chinese poems conforms to the rhyme system of modern poetry. Among the few poems that do not conform to the rhyme of modern poetry, the rhyme pattern of "hanhuan 寒桓 & shanshan 山刪" is the most common, which can be regarded as its representative rhyme pattern. In terms of alliteration, regardless of the number of alliteration groups, the alliteration of velar consonants account for the largest number, which is the same as that presented by Chinese poets. In terms of shuang sheng 雙聲, like alliteration, the shuang sheng 雙聲 is most pronounced at the velar consonants. In terms of die yun 疊韻, the quantities of"yin sheng yun 陰聲韻" and "yang sheng yun 陽聲韻" are roughly the same, but the quantity of "ru sheng yun 入聲韻", which shows that Cui did not prefer to use ru sheng yun 入聲韻 alone. In terms of designation of level and oblique, Most of Cui's poems are in perfect rhythm (105 poems in total), there are also 12 poems that are partially out of rhythm and 10 that are more than half out of rhythm. This is completely different from Du Mu 杜牧, who has only slightly more than half of the poems which are in perfect rhythm. It can be attributed to their mastery of Chinese consonants, vowels, tones and the rhythm of modern poetry. What the Cui and Du have in common is that they use irregular flatness to create their own personal styles.