金源全真教（含王重陽與全真七子）入聲詞用韻之研究

On the Entering Tone Rhymes of Quan Zhen Religion in the Jin Yuan Period: The Corpuses of Wang Chong Yang's and Quan Zhen Qi Zi's works

多數學者主張入聲字在北方官話裡，自宋、金、元這幾個朝代裡已經逐漸消失。民初學者自白滌洲又提出古代詩、詞的押韻，多係以方言為依據，王力更指出，古代詩詞押韻的實際現象，反應了當時的語音，可以補充韻書、韻圖的不足，尤其各年個時期的詩人詞人，在押韻的分合的範圍上，往往有他的不同特色，亦 即鄰韻通押的範圍，是隨時代、地區而有不同。金源全真教的幾位重要人物，他們的詞作，約佔全金詞總數的二分之一，由於全真教的詞作多係以宣揚教義為主，目的多用在傳教，是以詞作的押韻更富研究價值。尤其在入聲字方面所呈現的押韻現象，是值得注意的。也就是說它是否即是反應了山東寧海的語音，還是當時的官話。因此本論文即以全真教的所代表的人物──王重陽與全真七子的作品為語料，進行歸納與分析，借此期望有所發現。

Most scholars advocate that entering tone rhymes have gradually vanished from the Northern Mandarin since the Song, Jin and Yuan Dynasties. Di Zhou, Bai, a scholar in the early years of Min Gou, proposed that most rhyming in ancient poems and prose is based on local dialects. Wang Li also made the point that phones used in rhyming in the ancient times could compensate for the deficiencies derived from the Rhyme Books and Rhyme Tables. In particular, poets of different dynasties have their characteristic expressions in merging and separating different rhymes. Therefore, the variations on para-rhyming range from different times to different areas. Some of the important poets of Quan Zhen religion in the Jin-Yuan period whose works represent half of the available Jin proses. Since the prose writings of the Quan Zhen religion were mainly to propagate their religious doctrines, therefore, the prose rhyming provides a valuable resource for research, especially to determine whether the uses of entering tone rhymes are phonetic properties in Ninhai Shandong or the Mandarin at the time. Thus, this study analyzes the corpuses of Wang Chong Yang's and Quan Zhen Qi Zi's works, the representative poets of the Quan Zhen religion. It is expected to lead to more research findings about the entering tone rhymes.