中古上声字在现代方言中的演变研究
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摘要
中古上声调在现代方言中的演变是相当复杂的。本文利用已出版的有代表性的方言点调查语料(共收录方言点300个,其中1点为自查)对中古上声字在现代方言中的演变情况进行梳理,归纳出了若干种类型,并探讨了中古上声字到今方言中的发展特点和变化原因。
本文的具体内容主要包括四个方面:
第一,根据整理,分别将中古全浊上声字、次浊上声字、清音上声字在现代方言中的演变情况归纳为“官话型”和“非官话型”两大类型,并对每一类型的小类、特点、地域分布、所属方言点的调类差别等情况作了阐述。在“官话型”方言中,中古上声字的演变特点是全浊上声变去声,次浊上声与清上合流同读上声;在“非官话型”方言中,中古上声字的演变特点是全浊上声读音多样,次浊上声归属不定,清音上声多读上声。
第二,分别从内因、外因两方面对中古上声字在现代方言中的演变原因作了初步探讨。内因包括:调值的相似度、连读变调的影响、声母的影响、词汇语法的影响以及文字的影响;外因包括:移民的影响和邻近方言的渗透。
第三,对中古上声字在相关方言中的发展情况进行了比较,其中包括三对方言,即赣语和客语、平话和粤语、客赣语和粤语。进行比较的内容主要包括中古上声字的调类归属和辖字范围。通过比较我们发现,上声字在相关方言中的发展,既有各自独立的一面,又往往表现出诸多的一致性:赣语与客语、平话与粤语分别有各自独立的调类归属,但也存在共同的归派走向,如多数客语、部分赣语往往有少数全浊上字归入阴平,多数粤语、部分平话常常有少数全浊上字仍读阳上;赣语与客语今归阴平的浊上字,平话与粤语今读阳上的浊上字以及客赣语今归阴平与粤语今读阳上的浊上字之间,虽辖字范围不尽相同,但总体而言仍具有较高的一致性。
第四,总结出了中古上声字在现代方言中的演变特点。主要有三个方面:(1)区域性特征明显。上声字在官话区与非官话区之间,官话区、非官话区内部各方言之间,往往形成不同的演变类型。首先,在官话区中,多数情况是全浊上字归去声,次浊上字读上声;而在非官话区中,全浊上字则读音多样,次浊上字亦归属不定。其次,在官话区内部各方言中,多数方言符合规律性演变,但亦有局部方言与主流走向不同,如六调区通泰方言全浊上字大多数或约半数归阴平。最后,在非官话区内部各方言中,上声字在地理相邻、渊源相连的方言中往往表现出近似的演变特征,如全浊上归阴平是多数客语、部分赣语共同的语音特点,多数次浊上字今读阳上是粤语、平话均较为普遍的语音现象。(2)演变过程的渐变性。首先是时间上的渐变性:同一方言各个字的演变速度有快有慢,变化时间有先有后,是一个逐渐演变的过程。无论是全浊上字,还是次浊上字,在多数方言中都不会一下子均按照语音演变的规律全部归入相应的调类,即全浊上归去声、次浊上归阴上。在演变的过程中,总会出现未变的、变化中的、已经变了的三种上声字,新旧音并行不悖、交错使用。其次是地域上的渐变性:上声字的变化总是从个别方言开始,逐渐扩展到其他地区、不同区域。上声字的变化开始于北方中原官话,因此大致说来,上声字的演变由官话区逐步扩展到非官话区,由北方地区逐渐扩展到南方地区。(3)演变过程受到多种因素的影响。上声字在演变过程中受到多种因素的制约,其中既有来自语言文字系统内部的因素,也有来自语言文字系统外部的因素。正是在多种因素的影响下,中古上声字在今方言中的发展呈现出了复杂多样的演变态势。
In modern dialects, the evolution of medieval rising tone is quite complicated. Based on the corpus of published representative dialects (including a total of 300 recorded dialects, one of them from my dialect), this paper sorts out the evolution of the rising-tone medieval characters in modern dialects, sums up a number of types, and explores the development characteristics and reasons for changes of the rising-tone medieval characters in modern dialects.
This paper mainly consists of four aspects.
To start with, according to the classification, this paper categorizes respectively the evolution of medieval characters with the voiced rising tone, those with the semi-voiced rising tone and those with the voiceless rising tone in modern dialects into "Mandarin" type and "non-Mandarin" type. Besides, it discusses the minor categories, characteristics, geographical distribution, differences of tone class among dialects, etc., of each category. In the "Mandarin-type" dialect, the evolution of medieval characters with the voiced rising tone is characterized by the voiced rising tone changed into the falling tone and by the semi-voiced rising tone as well as the voiceless rising tone read with the rising tone. In the "non-Mandarin-type" dialect, the evolution of medieval characters with the voiced rising tone is characterized by the various pronunciations of the voiced rising tone, by the uncertainty in pronouncing the semi-voiced rising tone, and by the voiceless rising tone mostly read with the rising tone.
Secondly, the paper makes a preliminary study on the internal and external causes of the evolution of medieval characters with the voiced rising tone in modern dialects. The internal factors include the similarity of tone value, the impact of tone sandhi, initial impact, the impact of vocabulary and grammar as well as of the language. External factors include the impact of immigration and the infiltration of the neighboring dialects.
Thirdly, the paper makes a comparison of the development of medieval characters with the voiced rising tone in the relevant dialects, which includes three pairs of dialects, namely, Gan dialects and Hakka dialects, Pinghua dialects and Yue dialects, and Hakka Gan dialects and Yue dialects. The comparison mainly involves the attributes of the tone class and the scope of medieval characters with the voiced rising tone. By comparison we find that the development of characters with the rising tone in the relevant dialects is separate and yet shows a lot of consistency: Gan and Hakka dialects and Pinghua and Yue dialects have their own separate tone class respectively, however, there exists the same tendency of development among them. For example, some of the Gan dialects and most of the Hakka dialects usually have a few characters with the voiced rising tone read with the flat tone, while some of Pinghua dialects and most of the Yue dialects still have quite a few characters with the voiced rising tone read with the lower rising tone. The characters with the voiced rising tone in Gan dialects and Hakka dialects today, characters with the voiced rising tone in Pinghua dialects and Yue dialects, as well as the characters of voiced rising tone in the voiced rising tone still have high consistency despite the fact that they belong to different scopes of characters in general.
Fourthly, the paper sums up the evolution characteristics of the rising-tone medieval characters in modern dialects, which consists of three major aspects: (1) The characters have distinct regional characteristics. There are usually different types of evolution of rising-tone characters between Mandarin areas and non-Mandarin areas, as well as between the dialects in Mandarin areas and non-Mandarin areas. To explain it in detail, first of all, in the Mandarin areas, in most cases characters with the voiced rising tone are read with a falling tone and characters with the semi-voiced rising tone are read with the lower rising tone; and in the non-Mandarin areas, the pronunciation of characters with the voiced rising tone is of great diversity, while the pronunciation of characters with the semi-voiced rising tone is uncertain. Secondly, between the dialects in the Mandarin areas, the evolution of the majority of dialects is in line with the regular law, however, there are also some local dialects which diverge from the mainstream, for example, in district with six tones, most of the characters with the voiced rising tone are read with the higher even tone in Tongtai dialect. Last but not least, between the dialects in the non-Mandarin areas, the types of evolution of characters with the rising tone are of great complicity and diversity, for example, the characters with the semi-voiced rising tone are often read with the lower rising tonein Yue dialects, however, they are often read with the lower falling tonein some of the Wu dialects. (2) The characters change gradually in the process of evolution. Specifically speaking, the first aspect is the gradual change of time. Within the same dialect, the evolution of various characters is of various speeds and of different time sequences, which is a gradually evolving process. Be it characters with the voiced rising tone or those with the semi-voiced rising tone, they will not be classified into the corresponding tone class all at once in accordance with the evolutionary laws of phonics in most of the dialects, that is, those with the voiced rising tone are read with the falling tone while those with the semi-voiced rising tone are read with the higher rising tone. In the process of evolution, there will always be the unchanged, the changing, and the changed characters with the rising tone. Both the old and the new pronunciations exist harmoniously without coming into conflict and they are often used in a staggered manner. Next will be the geographical gradient. The change of the characters with the rising tone always starts from certain individual dialects, and gradually extends to other areas and different regions. The change of the characters with the rising tone originated from the Mandarin in the north central plains, so generally speaking, the evolution of the characters with the rising tone gradually extended from Mandarin areas to non-Mandarin areas and from the north to the south. (3) The process of evolution is influenced by many factors. Characters with the rising tone are restricted by many factors, of which there are internal factors within the language system as well as external factors beyond the language system. It is under such influence of a variety of factors that the development of medieval characters with the rising-tone in modern dialects evolves in such a complicated manner.
本文的具体内容主要包括四个方面:
第一,根据整理,分别将中古全浊上声字、次浊上声字、清音上声字在现代方言中的演变情况归纳为“官话型”和“非官话型”两大类型,并对每一类型的小类、特点、地域分布、所属方言点的调类差别等情况作了阐述。在“官话型”方言中,中古上声字的演变特点是全浊上声变去声,次浊上声与清上合流同读上声;在“非官话型”方言中,中古上声字的演变特点是全浊上声读音多样,次浊上声归属不定,清音上声多读上声。
第二,分别从内因、外因两方面对中古上声字在现代方言中的演变原因作了初步探讨。内因包括:调值的相似度、连读变调的影响、声母的影响、词汇语法的影响以及文字的影响;外因包括:移民的影响和邻近方言的渗透。
第三,对中古上声字在相关方言中的发展情况进行了比较,其中包括三对方言,即赣语和客语、平话和粤语、客赣语和粤语。进行比较的内容主要包括中古上声字的调类归属和辖字范围。通过比较我们发现,上声字在相关方言中的发展,既有各自独立的一面,又往往表现出诸多的一致性:赣语与客语、平话与粤语分别有各自独立的调类归属,但也存在共同的归派走向,如多数客语、部分赣语往往有少数全浊上字归入阴平,多数粤语、部分平话常常有少数全浊上字仍读阳上;赣语与客语今归阴平的浊上字,平话与粤语今读阳上的浊上字以及客赣语今归阴平与粤语今读阳上的浊上字之间,虽辖字范围不尽相同,但总体而言仍具有较高的一致性。
第四,总结出了中古上声字在现代方言中的演变特点。主要有三个方面:(1)区域性特征明显。上声字在官话区与非官话区之间,官话区、非官话区内部各方言之间,往往形成不同的演变类型。首先,在官话区中,多数情况是全浊上字归去声,次浊上字读上声;而在非官话区中,全浊上字则读音多样,次浊上字亦归属不定。其次,在官话区内部各方言中,多数方言符合规律性演变,但亦有局部方言与主流走向不同,如六调区通泰方言全浊上字大多数或约半数归阴平。最后,在非官话区内部各方言中,上声字在地理相邻、渊源相连的方言中往往表现出近似的演变特征,如全浊上归阴平是多数客语、部分赣语共同的语音特点,多数次浊上字今读阳上是粤语、平话均较为普遍的语音现象。(2)演变过程的渐变性。首先是时间上的渐变性:同一方言各个字的演变速度有快有慢,变化时间有先有后,是一个逐渐演变的过程。无论是全浊上字,还是次浊上字,在多数方言中都不会一下子均按照语音演变的规律全部归入相应的调类,即全浊上归去声、次浊上归阴上。在演变的过程中,总会出现未变的、变化中的、已经变了的三种上声字,新旧音并行不悖、交错使用。其次是地域上的渐变性:上声字的变化总是从个别方言开始,逐渐扩展到其他地区、不同区域。上声字的变化开始于北方中原官话,因此大致说来,上声字的演变由官话区逐步扩展到非官话区,由北方地区逐渐扩展到南方地区。(3)演变过程受到多种因素的影响。上声字在演变过程中受到多种因素的制约,其中既有来自语言文字系统内部的因素,也有来自语言文字系统外部的因素。正是在多种因素的影响下,中古上声字在今方言中的发展呈现出了复杂多样的演变态势。
In modern dialects, the evolution of medieval rising tone is quite complicated. Based on the corpus of published representative dialects (including a total of 300 recorded dialects, one of them from my dialect), this paper sorts out the evolution of the rising-tone medieval characters in modern dialects, sums up a number of types, and explores the development characteristics and reasons for changes of the rising-tone medieval characters in modern dialects.
This paper mainly consists of four aspects.
To start with, according to the classification, this paper categorizes respectively the evolution of medieval characters with the voiced rising tone, those with the semi-voiced rising tone and those with the voiceless rising tone in modern dialects into "Mandarin" type and "non-Mandarin" type. Besides, it discusses the minor categories, characteristics, geographical distribution, differences of tone class among dialects, etc., of each category. In the "Mandarin-type" dialect, the evolution of medieval characters with the voiced rising tone is characterized by the voiced rising tone changed into the falling tone and by the semi-voiced rising tone as well as the voiceless rising tone read with the rising tone. In the "non-Mandarin-type" dialect, the evolution of medieval characters with the voiced rising tone is characterized by the various pronunciations of the voiced rising tone, by the uncertainty in pronouncing the semi-voiced rising tone, and by the voiceless rising tone mostly read with the rising tone.
Secondly, the paper makes a preliminary study on the internal and external causes of the evolution of medieval characters with the voiced rising tone in modern dialects. The internal factors include the similarity of tone value, the impact of tone sandhi, initial impact, the impact of vocabulary and grammar as well as of the language. External factors include the impact of immigration and the infiltration of the neighboring dialects.
Thirdly, the paper makes a comparison of the development of medieval characters with the voiced rising tone in the relevant dialects, which includes three pairs of dialects, namely, Gan dialects and Hakka dialects, Pinghua dialects and Yue dialects, and Hakka Gan dialects and Yue dialects. The comparison mainly involves the attributes of the tone class and the scope of medieval characters with the voiced rising tone. By comparison we find that the development of characters with the rising tone in the relevant dialects is separate and yet shows a lot of consistency: Gan and Hakka dialects and Pinghua and Yue dialects have their own separate tone class respectively, however, there exists the same tendency of development among them. For example, some of the Gan dialects and most of the Hakka dialects usually have a few characters with the voiced rising tone read with the flat tone, while some of Pinghua dialects and most of the Yue dialects still have quite a few characters with the voiced rising tone read with the lower rising tone. The characters with the voiced rising tone in Gan dialects and Hakka dialects today, characters with the voiced rising tone in Pinghua dialects and Yue dialects, as well as the characters of voiced rising tone in the voiced rising tone still have high consistency despite the fact that they belong to different scopes of characters in general.
Fourthly, the paper sums up the evolution characteristics of the rising-tone medieval characters in modern dialects, which consists of three major aspects: (1) The characters have distinct regional characteristics. There are usually different types of evolution of rising-tone characters between Mandarin areas and non-Mandarin areas, as well as between the dialects in Mandarin areas and non-Mandarin areas. To explain it in detail, first of all, in the Mandarin areas, in most cases characters with the voiced rising tone are read with a falling tone and characters with the semi-voiced rising tone are read with the lower rising tone; and in the non-Mandarin areas, the pronunciation of characters with the voiced rising tone is of great diversity, while the pronunciation of characters with the semi-voiced rising tone is uncertain. Secondly, between the dialects in the Mandarin areas, the evolution of the majority of dialects is in line with the regular law, however, there are also some local dialects which diverge from the mainstream, for example, in district with six tones, most of the characters with the voiced rising tone are read with the higher even tone in Tongtai dialect. Last but not least, between the dialects in the non-Mandarin areas, the types of evolution of characters with the rising tone are of great complicity and diversity, for example, the characters with the semi-voiced rising tone are often read with the lower rising tonein Yue dialects, however, they are often read with the lower falling tonein some of the Wu dialects. (2) The characters change gradually in the process of evolution. Specifically speaking, the first aspect is the gradual change of time. Within the same dialect, the evolution of various characters is of various speeds and of different time sequences, which is a gradually evolving process. Be it characters with the voiced rising tone or those with the semi-voiced rising tone, they will not be classified into the corresponding tone class all at once in accordance with the evolutionary laws of phonics in most of the dialects, that is, those with the voiced rising tone are read with the falling tone while those with the semi-voiced rising tone are read with the higher rising tone. In the process of evolution, there will always be the unchanged, the changing, and the changed characters with the rising tone. Both the old and the new pronunciations exist harmoniously without coming into conflict and they are often used in a staggered manner. Next will be the geographical gradient. The change of the characters with the rising tone always starts from certain individual dialects, and gradually extends to other areas and different regions. The change of the characters with the rising tone originated from the Mandarin in the north central plains, so generally speaking, the evolution of the characters with the rising tone gradually extended from Mandarin areas to non-Mandarin areas and from the north to the south. (3) The process of evolution is influenced by many factors. Characters with the rising tone are restricted by many factors, of which there are internal factors within the language system as well as external factors beyond the language system. It is under such influence of a variety of factors that the development of medieval characters with the rising-tone in modern dialects evolves in such a complicated manner.
引文
[1]辛世彪《东南方言声调比较研究》李如龙序,第2页。
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[3]这三类情况根据本人的统计结果所划分。其中“绝大多数”指80%以上,剩余字归入其他调类的数量相对分散,一般情况最多占10%左右;“大多数”大体指60%～80%,“少数”大体指15%～40%:“半数”大体指40%～60%,全文同:“绝大多数”和“大多数”统称为“多数”。
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[1]除吴语外,还有闽北话的建阳、顺昌(洋口)方言、徽语的屯溪、祁门、黟县、休宁、婺源方言,海南闽语和文昌、定安、海口、澄迈、万宁等方言,以至陕西汉阴、山西孝义等地方言上声都带喉塞。参见郑张尚芳.汉语方言声韵调异常语音现象的历史解释[A].语言[C].北京:首都师大出版社2001:83-102.
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[2]其中吴语28处,粤语24处,平话17处,闽语4处,徽语1处。
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