李渔的曲韵观及其曲韵系统——兼与毛先舒《南曲正韵》比较

Li Yu’s View of Qu-rhyme and Its Qu-rhyme System:Comparison with Mao Xianshu’s Nan Qu Zheng Yun

从舞台演唱的音律特性出发,李渔持恪守曲韵、韵律相协和用韵贵纯的南曲用韵观,其虽未编订专门的南曲韵专书,但构建了颇具特色的包含三个层次的曲韵系统。李渔的曲韵系统与同时代毛先舒的《南曲正韵》相比,二者都呈现出据腔论韵、综合南北韵的特点。两家的曲韵观既存在差别又相互融通;二者对前代曲韵观念都既有继承,又有发展,并非明代前后期南曲不同用韵观的简单延续。

Starting from the musical characteristics of stage singing,Li Yu holds the view of rhyming which abides by the Qu-rhyme,coordinates between music and rhyme,and uses pure rhymes.Although Li Yu did not compile a special book on the rhyme of Nanqu,he still formed a distinctive three-level Qu-rhyme system.Li Yu’s system is similar to that of Mao Xianshu’s Nan Qu Zheng Yun,and both of them show the characteristics of rhythm based on melody and a combination of northern and southern rhythms.Their views on Qu-rhyme are different but interlinked.They inherit and develop the ideas of Qu-rhyme of the previous generation,which is not a simple continuation of the different views on the use of rhyme of Nanqu in the early and late Ming Dynasty.