許桂林《說音》的音譜設計與音學觀念

The Design of Phonetic Notation and Phonetic Concepts in Xu Guilin’s“Shuoyin”

許桂林治學門徑寬廣，精通《易》學、天文學、算學、音韻學等諸般學問，且熱衷詩文、小說之創作，與李汝珍切磋韻學，往來密切。本文以許桂林《說音》（1807）為研究對象，從「音韻思想史」的角度觀看，分析《說音》的音韻術語、音譜形制及其所透顯的音韻現象與音學思想。冀望藉由本文之研究，釐清《說音》各式音譜之設計理據，解析許桂林的音學觀念及其對古音、叶音與方音之認知，從而填補過往學者對《說音》研究之缺漏，並為後續破解《七嬉》中的切音遊戲奠定基礎。

Xu Guilin’s scholarly pursuits were wide-ranging. He was well-versed in the studies of the I Ching, astronomy, mathematics, and phonology, and he was also deeply engaged in the creation of poetry and novels. He had frequent interactions with Li Ruzhen, with whom he exchanged phonological insights. This paper focuses on Xu Guilin’s“Shuoyin”(1807) and examines it from the perspective of the“history of phonological thought,”analyzing phonological terms, the structure of phonetic notation, and the phonological phenomena and concepts revealed in“Shuoyin.”Through this study, the paper aims to clarify the design rationale of the various phonetic notations in“Shuoyin,”analyze Xu Guilin’s phonetic concepts, and understand his recognition of ancient sounds, borrowed sounds, and regional accents. This research seeks to address gaps in previous studies on“Shuoyin”and establish a foundation for deciphering the phonetic games in“The Seven Amusements.”