A Study On The Rhyme Chart Of The Twelve Rhymes Rhyme Book From The Mid Ming Dynasty Onwards

This dissertation is based on the twelve categories of surface rhyme parts in literature,and does not use the deep classification of rhyme parts as the inductive feature.However,under similar themes,the specific content still varies.Influenced by the theoretical basis and actual pronunciation,even the same proposition often uses different terms to represent(or assigns different meanings to the same term),and the classification of the twelve rhyme categories(十二韵类)rhyme book rhyme chart is also the same.The classification of the names twelve rhymes(十二韵摄)by ancient rhyme book and rhyme chart authors includes both traditional Twelve Yun(十二韵)and Twelve She(十二摄),as well as Twelve Huo(十二佸),Twelve Lv(十二律),Twelve Tong(十二统),Twelve Sheng(十二声),Twelve Gang(十二纲),etc.However,in essence,they are only the aggregation of different rhymes with similar rhymes and endings.Therefore,the author collectively refers to it as the twelve rhymes(十二韵摄)and does not specifically refer to differences.As far as we can see,the phonological literature of the twelve rhymes(十二韵摄)originated from the Zixue Yuanyuan(《字学元元》1603)in the thirty-first year of the Wanli period of the Ming Dynasty,and finally ended in the Liushi Qieyun Zhizhang(1934)in the twenty-third year of the Republic of China,,lasting more than 300 years,with more than 40 volumes.They include the Yinsheng Jiyuan(音声纪元》1611)that combines Southern(南音)and Northern(北音)sounds,the Fanqie Konggu Chuansheng(《翻切空谷传声》1798)that represents the difference between Mandarin(官话)and Colloquial(俗语),the Qieyun Shengyuan(《切韵声原》1652)and Benyun Yide(《本韵一得》1750)that combine Aancient(古音)and Seasonal(时音)sounds,as well as the Yinyun Fengyuan(《音韵逢源》1840)and Huang Zhong Tongyun(《黄锺通韵》1744)that combine with Manchu,And the Tongwen Yuntong(《同文韵统》1749),which includes the transliteration of Sanskrit and Chinese,as well as the Menghan Hebi Wufang Yuanyin(《蒙汉合璧五方元音》1917),which combines Mongolian and Chinese phonetics.The compilation style has also been adjusted several times,from the Yinsheng Jiyuan Ershisiqi Yinsheng Yunbiao(《音声纪元二十四气音声韵表》1611)that continue the kai He Si deng(开合四等)of the Song and Yuan rhyme diagrams,to the Zeng Zixue Shangxia Kaihe Tuiology(《增字学上下开合图》1603)and Yuanyun Pu(《元韵谱》1611)based on the merging rules of the merging rhyme section,to the Zimu Qieyun Yaofa(《字母切韵要法》1716)that clearly divide rhymes based on the Sihu(四呼),to the Yunlai(《韵籁》1824—1854)that combines phonetics and media to divide rhymes,and the Yunyin Zimu Mengxue Liangneng(《元音字母蒙学良能》1907)that divides vowel letters into initial consonants based on the characteristics of Chinese syllables,Finally,it returned to the Menghan Hebi Wufang Yuanyin(《蒙汉合璧五方元音》1917)based on rhyme,and the style of the literature underwent several changes.In addition to a large number of literature,a long time span,rich literature content,and multiple adjustments in the compilation style,the phonological ideas within the literature of the twelve rhymes(十二韵摄)have also undergone several changes and adjustments with the development of social trends.The rhyme chart of the twelve rhymes(十二韵摄)evolved from the Yinsheng Jiyuan(音声纪元》1611),Tai Lv(《太律》1618),and Yuanyun Pu(《元韵谱》1611)in the mid to late Ming Dynasty,which aimed to encompass all the sounds of the world and constructed an ideal phonetic system.It was transformed into the Wufang Yuanyin(《五方元音》1654—1673)for children’s literacy services,then into the(《同文韵统》1749)for pursuing the rule of the same culture,and finally into the Yinyun Fengyuan(《音韵逢源》1840)specifically designed for the game of transmitting sound and shooting characters.Finally,it was transformed into the Yunyin Zimu Mengxue Liangneng(《元音字母蒙学良能》1907)and Menghan Hebi Wufang Yuanyin(《蒙汉合璧五方元音》1917)seeking education and popularization,and opening up public wisdom.The phonological thinking was adjusted multiple times.Based on this,starting from various aspects such as yunyin sixiang(音韵思想),phonetic system(语音系统),compilation style(编纂体例),etc,a comprehensive investigation is conducted on the rhyme diagrams of the twelve rhymes(十二韵摄)in the middle of the Ming Dynasty.At the same time,using a historical perspective to re-examine phonological literature in specific historical contexts,returning to the historical scene,and integrating three research perspectives,examining the development and evolution of the twelve rhymes(十二韵摄)rhyme book rhyme map,according to the historical framework of the twelve rhymes(十二韵摄)rhyme book rhyme map,it is divided into five stages:origin(发端),formation(成型),development(发展),maturity(成熟),and decline(衰落).The content and structural characteristics of each stage of the literature are discussed separately.The first chapter of the dissertation focuses on the origin(发端)and formation(成型)of the rhyme diagram of the twelve rhymes(十二韵摄)rhyme book.The origin and formation of the twelve rhymes(十二韵摄)rhyme book rhyme diagram from the mid to late Ming Dynasty were both influenced by internal and external factors,which prompted phonologists to pursue ideological liberation and theoretical innovation.Due to limitations in content and structure,the twelve rhymes(十二韵摄)originated from the Zeng Zixue Shangxia Kaihe Tu of Zixue Yuanyuan(《字学元元·增字学上下开合图》1603)and the Yinsheng Jiyuan Shierlv Yinsheng Fenyun Kaihe Houpu Biao(《音声纪元十二律音声分韵开合后谱表》1611).The Yuanyun Pu(《元韵谱》1611)became a symbol of the formation of the twelve rhymes(十二韵摄)due to the unity of the content and form of the rhyme section.After the Yuanyun Pu(《元韵谱》1611),Ge Zhongxuan’s Tai Lv(《太律》1618),Hao Jing’s Du Shu Tong(《读书通》1630),and Fang Yizhi’s Qieyun Shengyuan(《切韵声原》1652),although they have different forms,are divided into 12 types of rhymes,and have basically completed the transformation of waiting for calls,which is also a finalization period.The second chapter of the dissertation discusses the preliminary development(发展)of the twelve rhymes(十二韵摄)rhyme book rhyme diagram.The emergence of Fan Tengfeng’s Wufang Yuanyin(《五方元音》1654—1673)in the early Qing Dynasty promoted the initial development of the twelve rhymes(十二韵摄)structure.The Wufang Yuanyin(《五方元音》1654—1673)added by Nian Xiyao and Gao Mingzhi after Fan’s reign also belong to this category because the basic structure remains unchanged.At this stage,the phonological literature of twelve rhymes(十二韵摄)is practical in thought,and is mostly designed for children’s reading;The content is based on the practical rhyme book Yunlue Yitong(《韵略易通》1442),and the phonetic system based on Shiyin(时音)is established;However,the Sihu(四呼)pattern in the literature is not perfect,so it is only the preliminary development of twelve rhymes(十二韵摄).The third and fourth chapters of the dissertation jointly discuss the maturity(成熟)of the twelve rhymes(十二韵摄)rhyme book rhyme chart and the diversified development of its content.The emergence of the official revision of the Zimu Qieyun Yaofa(《字母切韵要法》1716)in the Qing Dynasty was a sign of the maturity of the twelve rhymes(十二韵摄)rhyme book.The documents at this stage have an official and positive orthodox status,and pursue the standard tone that is applicable to all regions of the north and the south;The book and picture match in structure,and the level of rhyme is more prominent;At the same time,the Sihu(四呼)pattern based on pronunciation has been established,which has a great impact on the later prosody.At this time,the mature twelve rhymes(十二韵摄)rhyme book has more diverse content in its rhyme charts.Not only does it continue the Wufang Yuanyin(《五方元音》1654—1673)and Zimu Qieyun Yaofa(《字母切韵要法》1716),but it also includes the Tibi Guangzeng Wufang Yuanyin(《剔弊广增分韵五方元音》1810),the Dengyun Jianming Zhizhang Tu(《等韵简明指掌图》1815),and the Yinqie Pu(《音切谱》1848);There is also the Tongwen Yuntong(《同文韵统》1749)that combines Sanskrit;Huang Zhong Tongyun(《黄锺通韵》1744)and Yinyun Fengyuan(《音韵逢源》1840)combined with Manchu,and Benyun Yide(《本韵一得》1750)combined with Guyin(古音)research;And structurally based on the Yunfa Zhitu(《韵法直图》),Qieyun Kao(《切韵考》1712—1722),Fanqie Konggu Chuansheng(《翻切空谷传声》1798),Zengbu Yunfa Zhitu(《增补韵法直图》1769),etc.The fourth chapter of the dissertation discusses the decline(衰落)of the rhyme diagrams in the twelve rhymes(十二韵摄)rhyme book.The Dengyun Jingyao(《等韵精要》)reviews various schools of thought and selects them,carrying the historical mission of summarizing the twelve rhymes(十二韵摄).It is the earliest summary of the twelve rhymes(十二韵摄)rhyme books.In terms of editing style,although there have been adjustments to Dengyun Jingyao(《等韵精要》1775),they are not beyond the existing rhyme structure,and the trend of decline cannot be stopped.In the late Qing Dynasty and Republic of China,with the decline of traditional rhyme studies and the sharp changes in social environment,the interest and compilation style of the twelve rhymes(十二韵摄)rhyme book rhyme maps,which were in a declining stage,were adjusted.At this stage,the equirhyme literature adhered to Chinese characters and traditional fan qie(反切),with outstanding conservatism.However,under the influence of the trend of thought of the times,it sought to improve the teaching method and fan qie(反切)phonetic notation on the basis of the traditional structure,so as to promote the popularization of education,open up the wisdom of the people,and promote the waves.This kind of literature is represented by the Yunyin Zimu Mengxue Liangneng(《元音字母蒙学良能》1907)and the Menghan Hebi Wufang Yuanyin(《蒙汉合璧五方元音》1917).In addition,during the decline stage,the twelve rhymes(十二韵摄)rhyme book emphasized letters in its rhyme diagrams,which were mostly based on sound.The Eengyin Tu(等音图)in Dengyun Xue(等韵学1878)and Yunlai(《韵籁》1824—1854)were its representatives.Chapter fifth of the dissertation provides an overview of the literature characteristics of the twelve rhymes(十二韵摄)rhyme book rhyme maps in the mid Ming period,which can be mainly divided into three aspects:firstly,discussing the structural characteristics of the twelve rhymes(十二韵摄)rhyme book rhyme maps in the mid Ming period;Secondly,combining with the rhyme studies of the Ming and Qing dynasties,based on the inheritance relationship of the twelve rhymes(十二韵摄)rhyme book rhyme map,create a diagram of the inheritance relationship of the twelve rhymes(十二韵摄)rhyme book rhyme map from the middle of the Ming dynasty to the lower period;Thirdly,examine the content of the literature,summarize the compilation style of the twelve rhymes(十二韵摄)rhyme book in the middle of the Ming Dynasty,and improve the classification and description of rhyme maps.