蒲松龄《聊斋俚曲集》所反映的轻声及其他声调现象

The neutral tone and other tones in Liaozhai Liquji (《聊斋俚曲集》) by Pu Songling

蒲松龄的《聊斋俚曲集》是用当地方言写成的通俗戏曲,但其曲调遵循了相当严格的格律,特别是在声调上。本文发现,大部分不符合曲律声调要求的字今方言都读轻声,这些字实际上是由于轻声失去原有调值而被使用在平声或其他位置上的。俚曲中一些多音节词第二个音节的不同写法也是由轻声音节韵母或声调的混同而导致的。这些都反映出17世纪鲁中地区方言中轻声现象的存在。本文还通过曲律说明了该方言声调的其他一些现象。

This article discusses the neutral tone from two aspects based on the characteristics of the melody, rules and forms of rustic opera and the variances of a Chinese character in Liaozhai Li-quji (《聊斋俚曲集》) written by Pu Songling. In some restricted melodies, most of the characters not fit for the forms are those with a neutral tone today. Most of the variations of a character can be found in the place of a neutral tone syllable. All these are caused by the phonetic ambiguity of the neutral tone. And some other tones in Liaozhai Liquji (《聊斋俚曲集》) are analyzed too.