《詞韻選雋》與乾隆時代詞韻編纂思想

Ciyun Xuanjuan and the compilation thought of CI rhyme in Qianlong Era

乾隆朝是詞韻編纂的轉捩期,對於沈謙開創的詞韻編纂範式多有揚棄。應澧所作《詞韻選雋》是體現該時期詞韻韻書編纂思想的重要成果,但尚未爲人關注。今南京圖書館藏《詞韻選雋》抄本或爲應澧原稿本,具有重要的研究價值。在詞韻分部上該書將入聲分爲四部,與今人利用統計學得到的結果只在一個《廣韻》韻部上有出入,體現出作者高超的審音功力。在創作觀念上該書强調詞韻要獨立於詩韻之外;韻目以《廣韻》爲主;不能將詞韻與古詩韻相混淆;審音應以宋人的雅音爲依據,不能兼採鄉音。這些觀念一方面糾正了沈謙的偏失,一方面開戈載之先聲,能够與《學宋齋詞韻》《榕園詞韻》一起代表乾隆時代詞韻家的編纂思想。

The reign of Emperor Qianlong of the Qing dynasty is a pivotal time for the compilation of ci rhymes and the compilers at the time deserted the methods of compilation initiated by Shen Qian.Ying Li’s Ciyun xuanjuan(Selected Ci Rhymes)is an important embodiment of the thoughts of the compilation of ci rhymes at the time,but it has not attracted sufficient scholarly treatments.Of great research value is the copy collected in the Nanjing Library,which is probably Ying Li’s original manuscript.Ciyun xuanjuan’s rhyme section is divided into four parts according to the entering tone.There is only a slight difference between Ciyun xuanjuan and modern statistical results in the rhyme division of Guangyun(Broad Rimes),which reflects the author’s superb ability to distinguish sounds.The author’s emphases include:(1)ci rhymes must be treated independently from poetic rhymes;(2)Guangyun should occupy the central position;(3)Ci rhymes must not be confused with poetic rhymes;(4)The examination of sounds must be based on the elegant sounds of the Song dynasty and should not adopt regional sounds.Ciyun xuanjuan not only corrects Shen Qian’s mistakes,but also parallels with Xuesongzhai ciyun(Ci Rhymes Compiled in the Xuesong Studio)and Rongyuan ciyun(Ci Rhymes Compiled in the Banyan Studio)in representing the ci rhyme scholars’thoughts of compilation during the reign of Emperor Qianlong of the Qing dynasty.