Revised Edition of the Twenty-Four Histories of the Schoolbook of the Book of Song
The history of the Six Dynasties often mentions the talents of Shen Yue (441-513) in the field of understanding sound laws and defending phonology. Like what:
The Book of Liang and the Biography of Yu Shoulder (vol. 49): "In Qi Yongming, the scribes Wang Rong, Xie Shuo, and Shen Yue began to use four voices to think that they were new. To the point of turning the rhyme of the voice, the beauty of the beautiful, the repetition of the past. ”
Book of Liang and Biography of Shen Yue (vol. 13): "Shen Yue Zi Xiu Wen, Wu Xing Wu Kang Ren Also." ...... He also wrote the "Four Sound Scores", thinking that in the past, the writers had accumulated thousands of years without being embarrassed, but they had a unique chest, exhausted their wonderful purposes, and claimed to be the work of God, and Gao Zuya was not good. The emperor asked Zhou Sheyue: What are the four sounds? She: 'The Divine Sage of Heaven' is also. The emperor did not obey. ”
Nanshi Zhou's Biography (vol. 34): "Dr. Zhuan Guozi, concurrently a writer." The students of Taixue admired their wind and argued about things. At the beginning of the "Four Voices of Cutting Rhymes", he was executed at the time, and later died in the official. Sub-house. She is good at reciting poetry books, and the sound rhymes are clear. ”
The Biography of Nanshi Lu (vol. 48): "(The end of the Yongming Dynasty) shengwei article, Wu Xing Shen Yue, Chen Jun's Xie Shuo, Lang Yan Wang Rong pushed the qi class, and Ru Nan Zhou Was good at understanding the sound rhyme." (Shen) About and other texts use palace merchants, and put the flat up into four sounds, so as to make rhymes, there are flat head, upper tail, bee waist, crane knee. In the five words, the sound rhyme is different; within two sentences, the horns are different and cannot be added or subtracted. The world is called the eternal body. ”
To sum up, the main meaning of the above paragraphs is: First, Shen Yue, who proposed the "four voices theory", was the central figure, Wang Rong (467-493), Xie Shu (464-499), Zhou Yan and others, who also participated in the matter. Second, the "four voices" is to find that the flat goes up into their own independence, and the four characters of "Tianzi Shengzhe" have different tones, representing the four tones of the Chinese language. Third, in the Qi Liang era, writing poetry paid attention to recognizing sound and rhyme, of which the "eight diseases" needed to be avoided. The Nanshi Lu Jie Biography only mentions flat head, upper tail, bee waist, and crane knee, and the other four diseases are big rhyme, small rhyme, gong button, and positive button. Fourth, the four sounds are also associated with the "five tones" and "five sounds" (i.e., Gongshang Kakusei Yu).
One or four
The Japanese monks all looked at The King Kong (774-835) in the "Treatise on the Secret House of the Mirror and the Four Tunes" (People's Literature Publishing House, 1980 edition): "The Eastern Pingsheng (Pingling Illness), the Southern Shangsheng (Changshang Shangyu), the Western Shangsheng (Dispelling the Gong to Carve), and the Northern Into the Sound (壬衽任入)." "The four groups of example words cited in the "Wenjing", each group in addition to the order of the flat and the entry, also noticed the use of homophonic vowel words. The ancients were very keen to attach terms such as four squares, yin and yang, and five elements to some terms related to phonology, and the four squares and four sounds were really incompatible, and pure numbers could be put together.
In addition to the "tune four-tone spectrum", the "tuning sound", "the use of sound in the poem", "the four-tone theory", and "the twenty-eight diseases of the text" all deal with the four sounds, of which the "four-tone theory" is the most detailed. At that time, in addition to Shen Yue's "Four Voices", Zhang Chen's "Four Voices Rhyme Forest", Liu Shanjing's "Four Voices Finger Return", Xiahou Yong's "Four Voices Rhymes" (all according to the Sui Shu Jing Zhi, Shen and Xiahou Ershi Books, and other works cited as "Four Voices Spectrum" and "Rhyme Strategy"), as well as Zhou Yan's "Four Voices Of Rhyme", Chang Jing's "Four Voices Praise", Wang Bin's "Four Voices Theory" (according to the "Nanshi Lu Jie Biography", "Wenjing Four Voices Theory" quoted as "Five Grids and Four Sounds"), etc., are now extinct. Others, such as Yang Xiu's "Rhyme Strategy", Li Ji's "Doubtful Rhyme", and Lü Jing's "Rhyme Collection", although the title of the book is not titled "Four Sounds", is undoubtedly of the same kind, so it is not only quoted in the "Wenjing", but also mentioned in the later Lu Fayan "Qie Yun" (601).
In general, when describing the four voices, the wording of the "Wenjing" is relatively vague, basically it is an image description of "only understandable and ineffable", such as "The four voices of the husband, no sound, no words, all three talents, and the buds and all the elephants", but the book also points out some important facts related to the four voices, such as: "Since the end of the Song Dynasty, there have been four voices." Shen Shi is the author of his "Genealogy" theory, and the cloud rises from Zhou Yan. Another example: "And the husband who goes up to the entrance, the general name of the four voices is also, the person who enlists the whole government, the actual name of the four voices is also." ”
It should be known that although Shen Yue, Xie Shuo and others have identified the importance of the four voices for literary creation, at that time, there were still a few people with this consciousness. The "Treatise on the Four Voices of Wenjing" says: "Yingchuan Zhongrong's "Poetry Commentary" is brief and concise, and its work is clumsy. It is based on the last sentence of Xie Shuo's poem, which is reduced to a middle grade, a dwarf section, which can be described as having a heart! And yun: 'But it is enough to make the turbidity flow together, and to harmonize the tone, and to be si. As for the flat up and in, the remaining illness failed. The same passage also says: "After counting the people who heard the Jiang Table, they said: Xiao Yan, the king of Liang, did not know the four voices, and tried to indulge the leader of the Middle, Zhu Yiyue: 'What is the name of the four voices?' 'The Heavenly Son of Heaven is blessed', that is, four sounds. 'Derivative meaning difference:''Heavenly Son Shou Kao', isn't it four voices also?' 'With the breadth of lord Xiao' knowledge, he could not discern it. ”
The "Biography of Nan Shi and Lu Jie" quoted above also mentions: "Shang Shu Yiyun: Since Lingjun, this secret has not been seen, or the dark and the reasonable, not by thought. Zhang, Cai, Cao, and Wang Zeng had no premonitions, and Pan, Lu, Yan, and Xie went far away. Shen Yue's "Book of Song and The Biography of Xie Lingyun" (vol. 67) has a similar statement.
It seems that Xie Lingyun's (385-433) "landscape poems", as an important representative of Yonghuai poetry, certainly have their own unique value in the history of Chinese literature, but in terms of the characteristics of Chinese words and characters in understanding and discovery, Shen and Zhou zhuren are even better.
Later, Liu Xun (c. 465-c. 532) "saw this secret" and was able to follow Shen and Zhou. The Biography of Liu Xun (book 50) of the Book of Liang says: "Xun respects his own text, and wants to take it from Shen Yue. ...... He sat down with Shen Yue and received the "Chanting Candle", which was very rewarding. Liu Xun's "Wenxin Carved Dragon" has a "sound law", its literary propositions are in line with Shen Yueruo, and the "praise" of each part of "Wenxin" is strictly rhymed, which shows that Liu Also has the foresight of judging and defending rhyme (for details: Zhou Zumo's "The Nature of Cut Rhyme and its Phonological Basis", "Asking and Learning", Zhonghua Bookstore, 1966 edition).
Why did the "four-voice theory" rise up sooner or later in the eternal future? There is a passage in the "Wenjing Four Voices Theory" that can be used for reference:
Xiao Zhao Yongming's first year, that is, the sixth year of Emperor Xiaowen of Wei Gaozu's reign. ...... And Taihe Renyun, aiming at the words, the transformation of the upper and lower, the customs of the Russian movement. Later Wei's "Wenyuan Preface" Yun: "Gao Zu Tam tian, ruiqing literature, gai yi jie jaw Han Che, drowning Cao Pi, qi yuan yun gao, Yan algae unique composition." The crown is uplifted, the new style is salty, the rhythm is quite special, the curvature is changed, the origin of the word is rare, the words are more chested, the practice of ancient carvings is not worth it. As for the wonder of Yayan Lize, the beauty of the embroidery union, the years have not been heard of. Then Chen Junyuan Flipped, Hanoi Changjing, late pulling domain class, slightly changed its style. and the Imperial Calendar of Emperor Suzong, the culture and elegance are great, the scholars are like cattle feathers, and the adults are like lin horns. From then on, the talents were shoulder to shoulder, the voice was suppressed, the literary sentiments were graceful, and under Luoyang, there were groups of sarcasm. And the migration of the house, the resignation of the world, the flow of Hongya, the spring gushing cloud running, the movement of the palace merchant, the rhyme of the golden stone, the cover of thousands, the sea of Mo Zhibiye.
The above paragraph, although the reference is not so clear, but the general meaning can be seen, it is said that the evolution of style and the pursuit of the formal beauty of language were very obvious by the Time of the Six Dynasties, of which the innovation of the upper class and the effective practice of the knowledgeable scribes played a key role, such as the changjing of the "Four Voices of Praise"; especially after the southern crossing, the pursuit of "moving and merging palace merchants and rhymed golden stones" was even more popular. From landscape poetry, to palace poetry, to rhythmic poetry, such a fixed form of poetry, it must be directly related to the discovery of the beauty of the four voices by the scribes of the Southern Dynasty, but why the four voices were discovered in that period, the "Wenjing" did not give us a satisfactory answer.
From the perspective of cultural and linguistic contact, Mr. Chen Yinke, a close friend, proposed that the Sanskrit sound law played a decisive role in the invention of the four-voice theory of Shen Yue and Zhou Yuan:
On February 20, the seventh year of the reign of Emperor Yongming of Southern Qi, Prince Liang of Jingling gathered shansheng shamen at the capital residence and created a new sound of scripture. It was actually one of the major events of Cowen's censorship at that time. At this time, the Jiankang Trial Voice Scribe and the Shansheng Shamen discussion and study must have been very numerous and refined. The seven years of Yongming were collected in the Jing mansion, but this new doctrine was published in the study of achievements. The establishment of these four voices is therefore appropriate for the life of Southern Qi Yongming, and the disciples of Zhou Yong and Shen Yue are also suitable for the representative figures of this new doctrine. (For details, see: "Four Voices and Three Questions", "Preliminary Edition of Jin Mingguan Series", Life, Reading, and Xinzhi Triptych Bookstore, 2001 edition).
Shen, Zhou Zhiliu and the like happened to have close contact with Shansheng Shamen at the time of Yongming, and thus found that the similarities between the new sounds of Brahma and the four voices of Chinese can be understood, but how to correspond to the four sounds of Chinese is also a question that must be answered.
Chen Wen pointed out that in ancient India, there were three voices, which were manifested as the difference in pitch, and from the category point of view, it could correspond to the three tones of the Chinese language. As for the input sound, it is different from the other three tones, the input sound first has a [p t k] stop rhyme ending, while the other three tones only have a zero rhyme ending, [i u] rhyme ending or [m n ŋ] rhyme ending, which is a difference in the nature of the segment; on the other hand, the flat into the four tones, at the prosody level, also have their own differences. Tang Shamen Shen jue said in the "Four Voices, Five Tones, Nine Lanes Anti-New Tu Prologue" (attached to the end of the "Jade Chapter"): "In the past, there was a Liang Dynasty Shen Covenant, and the map of the new character was founded, all of which were flat books, and it was difficult to find in pieces. Tang also had the Duke of Yangning and the Duke of Nanyang Shizhong, and these two dukes also wrote the Yuanhe Rhyme Spectrum,...... Notation: those who speak quietly, mourn and settle down; those who speak up, those who lift up; those who go to the voice, clear and far; those who enter the voice, straight and urgent. The "Wenjing" (Western Volume) quotes the Tang Dynasty's "Wenbi Style" in exactly the same way. This passage shows that from the perspective of modern phonetics, the flat and upward into the tonal shape, tonal value, pitch, pitch and other aspects are all characteristics.
Although it is true that there are "four tones" in The Chinese of the Six Dynasties, how can the "eight tones" be explained? Obviously, we cannot confuse "sound" and "tone" here; or the "eight tones" statement, at least at the time, could not be established. Specifically, the four middle sounds can be divided into yin and yang, such as two yin and yang flat, and so on, there are eight categories. The distinction between yin and yang is based on the turbidity of the vowel, the clear vowel (according to the concept of modern phonetics, it should be accurately said to be "with sound" and "without sound") with yin tone, and the voice mother with yang tone. However, during the Six Dynasties, Sui and Tang Dynasties, although the vowel was clear, it did not affect the level of the entire tone, so the Qingping character and the turbid flat character were in the same tone, and the same was true for the sound characters, and did not differentiate from four tones to eight tones.
Two or five tones
In ancient books, the Gongshang Kakusei Yu, often referred to as the "Five Tones" or "Five Sounds", appears frequently, but its meaning is uncertain. First, referring to the tone, in addition to the "History of the South" quoted above, there is also the "Wenjing Tuning" quoting YuanJing's words: "There are five sounds, and the horns are the palace Shangyu." However, "Gongshang" is a five-tone sound, which does not match four tones. Li Ji's "Rhyme Determination doubts and prologue" said: "The shang is not in accordance with the law, and the cover and the palace are also in the same voice." The five elements are the same as the fire and earth, and the five tones are the same as the palace business. The "Wenjing Four Voices" quotes this article and says: "After seeing the literati of the time, those who talk about the four voices are all over, but they are five-tone spouses, and many of them cannot be harmonized." Li Shi suddenly proved with the "Zhou Li" that the shang was not in accordance with the law, and it was matched with the four voices, which was exactly the same. Li's meaning is that the reason why the "four sounds" cannot match the "five tones" one by one is because the palace and the Shang two tones are flat sounds, so they are called harmony; the three tones of the horn sign yu are just following up and matching.
How to match it? It should be a role match, a levy, and a feather. The Song Ben "Guangyun" (Yu Yiyongxin School Mutual Annotation Edition, Shanghai Dictionary Publishing House, 2000 edition) has two readings of "Yu" (上) and "Yu" (上書樂志) "Gong, Zhongye, the way of neutralization, and ignore it without going." Shang, strong also, is said to be strong in gold. The horns, the touches, are like the qi of the suns. Signs, stop also, words and things are full of stops. Yu, Shu ye, Yang Qi will be restored to all things and Shu Sheng, and Yin Yu". It should be noted that the interpretation of "palace, zhongye" is not a sound training in the strict sense, because the interpretation of the word and the interpreted word are only the same as the rhyme mother, and the vowel does not necessarily manage.
Second, the finger mother, such as the Shen Jue's "Five-Tone Discrimination Method", says: "The palace, the tongue is centered." Quotient, mouth open. Horns, tongue shrinkage. Feathers, mouth-to-mouth gathering. Signs, tongue column teeth. It is very different from today's letters. The "Fragments of Shouwen Yunxue" unearthed in Dunhuang, "Distinguishing the Case of The Gongshang Horn Zhengyu", the Southern Song Dynasty "Cut Rhyme Finger Palm Diagram" "Distinguishing the Five-Tone Example", also refers to the "Palace Shang" as the vowel. Zheng Qiao's Tongzhi QiyinLuo criticized the Southern Dynasty scribes' practice of equating "palace shang" with four voices, pointing out that "the Confucian of Jiang Zuo, who knows that there are four voices in the vertical and horizontal, does not know that there are palaces, shang, horns, levies, feathers, half signs, and half shang.".
Third, it refers to the rhyme mother. The above-quoted Jinshu Lezhi explains that the use of words for "Gongshang" only cares about the vowel mother, which is proof. There is also a song ben "Jade Chapter, Five-Tone Diagram", which is annotated with reverse cutting, which looks complicated but cleverly arranged. The details are as follows: (in parentheses is an inverse cut, and its left is a cut word)
Palaces: Gong (Julong), Ju (Gong Lu);
Shang: Shang (Shuyang), Shu (Shangyu);
Horns: Horns (Guyue), Gu (Kakusho);
Signs: Zheng (陟里), 陟 (征力);
Feather: Yu (Yu Zhi), Yu (Yu Ju).
Taking the "gong" sound inverted upper and lower characters "Julong Gong Lu" as an example, "Ju Gong", "Long Lu" two double sounds, "Ju Lu", "Gong Long" two double rhymes, the other four tones can also be deduced. The author pointed out in the article "Trial Interpretation of the Song Ben "Jade Chapter, Five-Tone Diagram" and the Names of "Gongshang" and "Five Surnames" [Journal of East China Normal University (Philosophy and Social Sciences Edition), No. 1, 2017], that the connotation of "Gongshang" here "cannot be distinguished by vowels, nor can it be based solely on the vowel vowel, let alone on the end of the rhyme or tone, but should focus on the pronunciation state after the main vowel of the vowel and the vowel, that is, the phonetic nature of 'rhyme'." ”
Statue of Shen Yue in Bayongtan Square, Jinhua, Zhejiang
Third, ping
Gao Yougong, a modern person, said in the article "The Influence of Chinese Chinese Words on Poetry": "In the Qi Liang period, the four voices began to consciously become an integral part of the poetic rhythm, and gradually the four voices were reduced to Ping Shu and really paved the way for the new rhythm. Previous rhythms were based only on syllables, i.e. bytes. One word and one tone, or two or three words constitute the basic unit of rhythm. After the pingshu as the basis for opposition, the rhythm of the syllable was added to the law of the flatness, which seemed to be only the shackles of the formalism of the stacked bed frame house, but its transformation of the rhythmic meaning was extremely symbolic. ”
In the essay "The Aesthetics of rhythmic poetry", Gao expressed roughly the same opinion: "Shen Yue is usually hailed as the discoverer of tone, and perhaps he is just one of many people in the poetry world who pay attention to the rules of tone. Xie Shuo and Wang Rong also belong to this group. But the most significant contribution was the reduction of the tone system from a four-tone system to a dichotomy that made the combination of tone and poetry a reality. (See for details: Meidian: A Collection of Treatises on Chinese Literature, Life, Reading, and Xinzhi Triptych Bookstore, 2008)
What we have to ask is whether Zhou, Shen Zhizhi and the like had consciously changed the four (four sounds) of Chinese syllables into two points (平仄) at that time? Judging from the literature so far, there was at most a bit of a hazy feeling at that time, and there was no absolute division like the four voices.
"Nanshi Lu Jie Biography": "The Great Intention desires the palace to change phases, low and high, if there is a floating sound in front, then the back must be cut." Within one sentence, the rhyme is completely different, and in the two sentences, the weight is different. (The Song Shu Xie Lingyun Biography", "舛節" is written as "mutual knot"; "Gong Shang" is "Gong Yu".) The question of "palace merchants" has been analyzed in the text, and there is no doubt that the difference in tone (or prosody) should be referred to in this sentence; it can be noted that the descriptions of "low" and "light and heavy" should also seem to be related to the tone. Between "Gong Shang" or "Gong Yu", it should be the difference between Low Ang. As pointed out above, Li Ji said that "palace and shang are the same law", and the words gong and shang are indeed flat tones, and it is not possible to talk about "low ang and fat festival", so the "palace feather phase change" statement in the Book of Song is reliable.
Moreover, from the understanding of the ancients and modern people on the tone of the Six Dynasties, Sui and Tang Dynasties, the flat voice is low and the upper voice is high, which is indeed consistent with the records of the "History of the South" and so on. In turn, it also shows that if the syllables of Chinese characters are made binary, the difference between high and low tones may be a manifestation of the distinction between "ping 仄".
Liang Huijiao's "Biography of a High Monk" said: "Ping Tun Mu Xun, there are palace merchants." ...... Sometimes there are Dao Lang, Fa Nin, Zhi Xin, Hui Guang, and there is no remaining boundary, Bo can transfer, Dao Lang can catch the tune slowly, Fa Nin is good at saving the attack, Zhi Xin shan can be sideways, and Hui Guang likes to fly. "Probably the earliest literature on ping. "Sayings": "仄, tilt also." And: "Tilt, servant also." It can be seen that "仄" and "side" are originally synonymous; in pronunciation, the Middle Ages are both Zhuang Mu Gong rhymes. Taken literally, "仄" means uneven and inclined. Implemented at the level of tone, the flat voice is "mournful and peaceful", then the voice should be other rhythmic performances other than this. Although high and low is one of them, the characteristics of length, flat curve, lifting and lowering can also be distinguished from flat and flat.
It can be seen from this that Shen Yue, as the main leader of the Yongming literary movement, had a great influence on the discovery of the four voices and the evolution of poetry, and is undoubtedly a major event worthy of heavy ink in the history of Chinese literature, Chinese language, and cultural thought.