梁辰鱼《浣纱记》用韵考

Rhythms in Huanshaji by LIANG Chen-yu

梁辰鱼是明代嘉靖年间重要的戏曲家,其作品《浣纱记》相传是昆剧的奠基之作。明代及近代曲论家对《浣纱记》用韵有不同的看法。运用韵脚字归纳法对《浣纱记》45出、341支曲子的用韵情况做详尽的考察后,共得出21韵部:东钟、江阳、寒山、桓欢、先天、庚青、真文、侵寻、支思、齐微、鱼模、歌戈、车遮、家麻、皆来、萧豪、尤侯、敌国、独曲、列接、落索。分析这21韵部韵脚字,可见梁氏作曲时是尽量遵照《中原音韵》的,一些出韵的地方是作者方音的自然流露。

LIANG Chen-yu is an important playwright during the Jiajing years in Ming Dynasty; and his work Huan- shaji has been claimed the cornerstone of Kunqu opera （a regional play in Jiangsu, Hebei and Beijing）. There have been different views about the rhyme patterns in Huanshaji since the Ming Dynasty. The present paper adopts the inductive methodology of the rhyming words in the lines of a verse, so as to undertake an exhaustive analysis of the rhyme cases in Huan- shaji, which contains 45 acts, 341 melodic verses, and 21 rhymes. The analysis suggests that the work sticks largely to the rules of Zhongyuan Yinyun （the Phonetic System of Central Plains ）, and those places that disagree resulted most probably from the author＇s local accent.