The Liaochai Slang Melody Set Rhyme Research

Liaochai slang melody set is a popular opera collection which is written inShandong dialect by the famous Qing Dynasty writer Pu Songling. Tradition ofLiaochai slang melody set research focuses on textual criticism of the culturalfactors, and lack of knowledge of the language ontology. When it comes tophonological characteristics of Liaochai slang melody set, there’s only person whocalled Zhang Shuzheng wrote a related article. Zhang Shuzheng’s article on therhyming in the basic division of Liaochai slang melody set has been classified, andanalysis from the perspective of zichuan dialect words, Er Hua Yun and tones. Butthis article is not about the phonology of Liaochai slang melody set collection ofrhyming system. So, this article is still based on the rhyming words of Liaochaislang melody set collection of materials, rhyme system reconstruction works andthrough comparative study of the synchronic and diachronic developmentperspective and to reveal the phonology of Liaochai slang melody set collection of rhyming system.First, through the15pop3130rhyme section1825rhyming words in theLiaochai slang melody set, the thesis establish13rhyme groups. And contrastingwith other materials such as Guangyun and Central China Phonology through aquantitative and qualitative analysis for the13rhyme groups, the thesis presents11kinds of rhyme. And on that basis to supplement the existing research results andanalysis.In the second place, compare the rhyme groups of Liaochai slang melody setwith Central China Phonology, Wang Shifu “the West Chamber”, the thirteenrhymes and eighteen rhyme by the longitudinal comparison approach we can foundthat Liaozhai slang melody set rhyme system presents a speech from “North CentralChina phonology” to modern speech transition in nine features:1,The basic rhymeis more strict than the Central China Phonology and broader than the modern13rhyme groups;2, Zhisi and Qiwei are confused;3, The Cuokou rhyming words ofYumu show a trend of separation;4, Dongzhong and Gengqing show a trend ofmerging;5, Qinxun and Zhenwen have finished the process of evolution to themodern Renchen group;6, Xiantian、Hanshan、Huanhuan、Lianxian、Jianxian have developed into the modern Yanqian group;7, Word “wrong” has turn from the YumuDivision into Gege Division;8, Word “Sha” has turn from the Jielai Division intoJiama Division;9, Word “stone” is read as Dan when it was a measure words.Next, contrast the Liaochai slang melody set with North opera and South operasuch as “Peony Pavilion”,“Huansha biography”,“Hongfu biography” rhymesystem which is also written in the Qing Dynasty, we found the Liaochai slangmelody set rhyme system have a close relationship with North opera on Rushengturned into other three tones, the Bikou rhyme disappeared, using the same rhymewords as Central China Phonology, division as the North opera, and so on. But asworks with dialect characteristics, the Liaochai slang melody set set also has anobviously dialect characteristics in terms of Zhiwei and Yumu Division, Zhiwei andJielai Division, Yumu and Youhou Division, Jielai and Jiama Division, Gege andJiama Division, Gege and Xiaohao Division have custody of the Department.In short, the Liaochai slang melody set rhyme system shows that in addition tothe trend from the ancient Chinese phonology to the later time, it was represented onthe northern voice as the basis, and the “Mandarin” voice rhyme which is popular inmost northern region, but at the same time it also represented a obviously characteristics in Shandong dialect.