論沈寵綏運用鈐記符號辨正崑腔口法

An Analysis of Shen Chongshui’s Application of Qianji Symbol to the Rectification of the Sounds in the Kunshan Accent

晚明江蘇吳江人沈寵綏（？-1645）在劇壇盛行崑山腔的風潮中，先後編撰《絃索辨訛》和《度曲須知》（1639）。《絃索辨訛》主要選錄北曲劇套和散套曲文，兼選三首南北合套。南北曲皆以崑山腔歌唱，而吳中歌者往往使用吳語唱念，導致字理乖張，音義逕庭。沈寵綏乃取周德清（1277-1365）《中原音韻》為崑曲之正聲，矯正歌者唱念之訛誤。
《絃索辨訛》辨正語音的方法之一，是在曲文左右兩旁各鉗記三種符號。左旁鈐記閉口符號□，撮口符號○，鼻音符號△；右旁鈐記開口張唇符號■，穿牙縮舌符號●，陰出陽收符號▲。這些鈐記具體指出該字的發音部位與方法，意在辨正崑腔口法。本文以六種鈐記符號為研究課題，逐項分析其代表的語音意義，及其蘊含「正吳中之訛」的立意。
《絃索辨訛》運用鈐記符號，對崑腔度曲有四點重要意義。第一，左旁鈐記是汲取前人刊刻曲選記認的符號，但右旁鈐記符號則是新創，沈寵綏為吳中絃索建立完整的「鈐記譜」。第二，鈐記符號囊括「三字切法」音節結構的元素：穿牙縮舌辨認聲母（字頭）；開口張唇辨認主要元音（字腹）；撮口辨認介音或主
要元音含有u（字腹）；鼻音和閉口辨認韻尾（字尾）；陰出陽收辨認聲母陰出（字頭為清音），韻母為陽收（字腹字尾為陽調）。第三，鈐記符號實踐取中原音系為「正聲」的規範。第四，鈐記符號不只為北曲口法而設，其實是「體兼南北」。不論「吳中絃索」或「吳中崑腔」，咬字吐音兼含南北音系。故《絃索辨訛》實兼具「正吳中絃索之訛」與「正吳中崑腔之訛」的作用。
《絃索辨訛》運用鈐記符號，辨析崑山腔唱南北曲單字的不同口法，完成現存唯一完整的「口法譜」，成為獨樹一幟的選集，在崑腔音韻度曲史上具有重大的意義。

The late Ming drama composer, Shen Chongshui (?-1645), riding on a wave of prevailing Kunshang accent, edited Xian suo bian e and Duqu xu zhi (1639). Xian suo bian e mainly was selected from the text of jütao and santao in the northern Chinese drama. The northern and southern drama was both sung in the Kunshan accent, but the singers of Wuzhong often sang it in the Wu language, so that the meaning of the text sounded farfetched. Therefore, Shen took the sounds in Zhou Deqing’s (1277-1365) Zhongyuan yinyun as standard sounds of Kunshan drama, rectifying the errors of the Wuzhong singers in singing.
One way of rectifying sounds in Xian suo bian e is to mark three types of symbols to the drama text on the right and left respectively. Symbols □, ○, and △ on the left to the text mean closing mouth, round mouth, and nasal sounds respectively; symbols ■, ●, and ▲next to the text mean retroflex, retroflex, and yinchuyangshou respectively. Those symbols refer to sounding methods and places of articulation in order to distinguish Kunshan accent sounding from errors. Based on these six types of symbols, this article individually analyzes their meanings, sounds, and the conception of “rectifying the errors of the Wuzhong singing.”
The uses of qianji symbols in Xian suo bian e are meaningful for duqu in the Kunshan accent in four aspects. Firstly, the symbols on the left to the text were previously used, the ones right next to the text were new. Shen established a complete “qianji genealogy” for Wuzhong Xian suo. Secondly, the qianji symbols include the syllable structure of “separation of three characters”: the retroflex identifying the initial (the head of the sound), the opening mouth identifying the vowel (the belly of the sound), the round mouth identifying the prenuclear glide or the vowel with u sound (the belly of the sound), the nasal sound or the closing mouth identifying the final (the bottom of the sound), yinchuyangshou identifying the yinchu of the initial (the head of sound is voiceless) and the yangshou of the final (the belly and bottom of sound are yang tones). Thirdly, qianji symbols represented the standard sounds from Zhongyuan yinyun. Fourthly, qianji symbols were designed not only for the sounding of the northern drama, but also for the combination of the northern and southern drama (ti jian nan bei). The articulation and sounding of “Wuzhong Xian suo” and “Wuzhong Kunshan accent” came with both the northern and southern sounding systems. Hence, Xian suo bian e in fact functions as “rectifying the errors of Wuzhong Xian suo” and “rectifying the errors of Wuzhong Kunshan accent.”
Xian suo bian e applies the qianji symbols to the text, differentiating the sounding in Kuanshan accent drama. It is the only existing complete “sounding record,” a distinctive anthology, which is greatly meaningful for the phonological history of duqu in Kunshan accent.