從音韻學角度論清代度曲論的傳承與開展

On the Transmission and Development of the Duqu Theory in the Qing Dynasty from the Viewpoint of Phonology

音韻學運用於度曲論，起源於元，興盛於明，傳承於清。雖然許多議題在明代已有規模的論述；但清代在傳承前說之外，亦有開展創發者。本文擬就清代四位戲曲理論家，分析其運用音韻學於製曲和度曲而呈現不同層面的成就。從微觀角度總結清代音韻度曲論之成就，具體表現在以下七方面：四聲與度曲（尤以入聲論述最豐富）、收韻、閉口、鼻音、尖團音、五音四呼歸韻之口法、北曲「南方語音化」現象。從宏觀角度探討戲曲音韻學對清代度曲論的傳承與開展，包括三方面：運用音韻學闡釋製詞對度曲之影響、運用音韻學建構傳聲口法、運用音韻學開創曲白規範，恰好反映音韻學運用於清代度曲論的歷史發展與成就面向。論述過程中，必須植基傳承之上，才能凸顯清代音韻與度曲相關議題的開展，故本文以傳承與開展為主題。李漁傳承王驥德，毛先舒對南曲入聲課題頗多創發。徐大椿傳承沈寵綏，從發音生理學角度舉出各種口形，描述抽象的傳聲口法，是其開創。藝人黃旛綽借用音韻學歸納簡約的曲白規範，既不從劇作家立場出發，亦不從戲曲音韻學家立場著眼，理論規模雖不及前輩學者，但對演員表演唱念藝術提供實際的原理原則。

This paper will analyze the achievements of the Duqu 度曲 theory in the works of four phonologists that specialized in Chinese traditional opera. The achievements of the Duqu theory and phonology in the Qing dynasty are presented based on the following seven aspects, namely, (1) si sheng 四聲 and Duqu (four tones, with discussion centering primarily on the ru sheng), (2) shou yun 收韻 (ending rhyme), (3) bi kou 閉口 (closing mouth), (4) bi yin 鼻音 (nasal), (5) jian tuan yin 尖團音 (dentalveolars and palatals), (6) wuyin sihu guiyun 五音四呼歸韻 (five phonemes, four groups of vowels, returning rhyme), and (7) the phenomena of nanfang yuyin hua 南方語音化 (sounding Southerned, by using Wu language to sing the traditional Northern opera) of Northern Chinese traditional opera. Phonology influenced the development and transmission of the Duqu theory during the Qing dynasty in three main ways: (1) the influence of phonological elucidation on Duqu; (2) the use of phonology to construct the techniques of transmitting sounds; and (3) the use of phonology to initiate the rules of dialogues. These three dimensions reflect the historical development from early Qing to the Jiaqing and Daoguang periods, a total of 150 years, and the different achievements resulting from the fact that phonology was integrated into the Duqu theory. Qing phonologists developed the Duqu theory by building on the achievements of their predecessors: Li Yu 李漁 built on Wang Jide’s 王驥德 studies; Mao Xianshu 毛先舒 made much progress in his research on Nanqu rusheng 南曲入聲; Xu Dazhuang 徐大椿 learned his opera techniques from Shen Chongsui沈寵綏, and went on to create his own special oral shapes for expressing abstract sounds through the application of phonological physiology. Huang Panchuo 黃旛綽 generalized concise dialogue rules by borrowing from biological phonology and offered practical principles for performing, singing, and speaking.