《重訂司馬溫公等韻圖經》硏究 = A Study on Xu Xiao`s Chongding Sima-Wengong Dengyun-Tujing

다국어 초록 (Multilingual Abstract)

The purpose of this study is to analyze the Chinese sound system reflected on Xu Xiao`s ≪Chongding Sima-Wengong Dengyun-Tujing≫, which was published in late Ming dynasty(1606). This rhyme table is quite different from those of earlier times, such as ≪Yunjing(韻鏡)≫ and ≪Sisheng Dengzi(四聲等子)≫. The major differences from the rhyme tables of earlier times are, firstly, the number of initials reduced from 36 to 22, secondly, the traditional four-division system is changed into three-division system, i.e. upper division, middle division and lower division, thirdly, the former four tone labels even(平聲), rising(上聲), departing(去聲) and entering substituted with even, rising, departing and like tone(如聲), the last of which means `like the even tone`. And the term `she(攝)` used in this rhyme table means simply `rhyme`, instead of `rhyme classes`, as it used to mean.
In this article, I suggest to adopt phonological approach instead of the phonetic approach. My method is to analyze phonemes as strictly as possible to produce a phonological fomula which reflects the total process of the sound changes. The result of the present study may be summarized into the following three categories.
(1). Concerning the issues of the initials;
Firstly, Yi-mu(疑母) which represented /□/ and Wei-mu(微母) which represented /v/ in the period of ≪Zhongyuan Yinyun(中原音龍≫(1324) disappeared at the period of ≪Tujing≫with some exceptional characters, i.e., `牛, ?, ?` etc. Secondly, the 照 series (retroflex initials) no longer combine with the palatalized finals.
(2) Concerning the issue of the finals;
Firstly, the characters of Dong-zhong(東鍾) rhyme of the ≪Zhongyuan Yinyun≫ merged into Geng-qing(庚靑) rhyme. Secondly, the rhyme Han-shan(寒山), Huan-huan(桓歡) and Xian-tian(先天) of the ≪Zhongyuan Yinyun≫ has merged into one rhyme category Shan she(山攝), which means that the main vowels of Huanhuan(桓歡) /o/ and Xian-tian(先天) /e/ changed into /a/. Thirdly, the characters of qichi(齊齒) of Qi-wei(齊微) appear in the middle division of Zhi she(止攝), which means that the ending of these characters /y/ has lost, and they can no longer rhyme with the characters of Qi-wei(齊微) rhyme. Fourthly, some characters of Ri-mu(日母), i.e., 兒, 二, 而 etc. appear in the bellow of Ying-mu(影母), which means the r-suffixation(兒化) of these characters have completed.
(3) Concerning the issue of the tones;
The entering tone(入聲) of the ancient Chinese changed into three other tones at the time of ≪Zhongyuan Yinyun≫. But the characters changed into rising tone in ≪Zhongyuan Yinyun≫ appear in even(平聲), rising(上聲). departing(去聲) tones in ≪Tujing≫and modern Mandarin, which means that, I think, the ending of original entering tone in the pronunciacion of written language has existed until before the ≪Tujing≫, and at the time when it no longer exists, it influenced the value of the original entering tone.