《中原音韻》「的本」與「翻切圈註」本考辨──兼談對元明填詞度曲之意義 =An Investigation of Diben and Fanqie quanzhu Editions of Zhongyuan yin yun --their Significance to Lyrics Writing and Composition in the Yuan and Ming Dynasty

This paper collates the edition of Zhou Deqing's (1277-1365) Zhongyuan yin yun(《中原音韻》), housed at Tongjian Library(銅劍樓) by Qu Tieqin in the Yuan(Qu edition thereafter), with the naan(訥菴) edition in the Ming. Both editions are generally called diben(的本). In addition, Ming scholar Wang Wenbi's (1415-1504?) Zhongzhou yin yun (《中州音韻》[1503-1504])and Re-collation of Zhongyuan yin yun (《重訂中原音韻》[1601]), both called fanqie quanzhu(翻切圈註) edition, are used to correct diben. The two types of editions are traceable to the same stock. Based on the collations and annotations, this paper explores these editions' significances to lyrics writing and composition in the Yuan and Ming dynasty through a panoramic view.
The first level of this paper conducts four issues. The first issue lists the correctness and wrongness of Qu and naan editions in the nineteen rhyming categories. The observation of Qu edition's wrongness suggests that his version could be a duplicate from the Yuan dynasty. Secondly, according to the two prefaces in Zhongzhou yin yun, Wang Wenbi's work is a collation on Zhou's. Moreover, a preface by Pu Ernan confirms that Wang's Re-collation of Zhongyuan yin yun was not published until the four-year proofreading and woodblock copying by Ye Yizhen(?-?). The Annotation, therefore, is titled "Edited by Gaoan's Zhou Deqing, annotated by Wuxing's Wang Wenbi, and proofread by Guwu's Ye Yizhen." Thirdly, compared with Zhou's original copy and the differences between Wang's two books on the basis of fanli(凡例), this research highlights Wang's contribution to his collation and annotation on Zhou's. Fourthly, the achievement of fanqie quanzhu edition for correcting diben is enumerated as well.
From the view of history of Chinese phonetic dictionary, the second level looks into the significance of diben and fanqie quanzhu editions to lyrics writing and composition. Zhou's work tends to rectify the sounds of zhongyuan(中原[central plains]) for the composition of the northern Chinese traditional opera. That the entering tone was recategorized into other three tones was accordingly initiated for rhyme; he thus founded a composition system for the northern Chinese traditional opera. Besides, thanks to their quality “separating sounds to give meanings,” Wang's works became the phonetic norm for reproducing the northern Chinese traditional opera and the composition of Ming operas. This is an essential observation when engaging in related issues on diben and fanqie quanzhu editions in the interdisciplinary research of phonology of Chinese traditional operas. (Translated by Huang-Lan Su, Ph. D Candidate, University of Illinois at Urbana-Champaign)