绪论
本课题研究意义
1.1.1 越南古汉诗简介
Vietnamese literature can be categorized based on various criteria, with some scholars focusing on different feudal dynasties and others on the development process of literature Nguyen Dong Zhi (1942) discusses ancient Vietnamese literature from the 1st century to the early 15th century, highlighting that most works from the 1st to the 10th century were oral traditions, including folk songs, proverbs, idioms, and myths, with no written records Following this period, the use of Chinese characters as the official script in Vietnam led to the prevalence of Chinese poetry Historical records indicate that in 987 AD, during the Ly Dynasty, Emperor Ly Dai Hanh sent Du Phap Thuan to welcome a northern envoy, who composed a couplet of poetry on the boat, to which Du Phap Thuan responded with another couplet Yang Guanghan (1993) suggests that this marked the beginning of Vietnamese poets gradually adopting the metrics of Chinese poetry, with their works starting to be documented Yang identifies three significant periods of Chinese poetry's prominence in ancient Vietnamese literature: the Tran Dynasty (1225–1400), the Hong Duc period (1470–1497 during the reign of Emperor Ly Thanh Tong), and the Nguyen Dynasty.
Vietnamese ancient literature can be divided into three distinct phases, as outlined by Pei Dejing (2005) The first phase is characterized by oral literature, while the second phase encompasses the early ancient literature period, which spans from the Northern Shu period to the end of the Ly dynasty in Vietnam.
The article discusses the evolution of classical literature in Vietnam from the 13th to the 20th century, with a particular focus on the significant period between the Tran and Le dynasties (13th to 15th centuries) During this extensive timeframe, Han poetry played a crucial role in the development of Vietnamese literature This study specifically targets ancient Vietnamese Han poetry from the 11th to the 15th century.
众所周知，在越南公元前111年到939年是北属时期（在北方势力统治之
Historically, the relationship between Vietnam and China is deep-rooted, with both cultures significantly influencing each other In the 10th century, for various objective and subjective reasons, the Vietnamese adopted Chinese characters as their writing system During this period, not only did Vietnam borrow the script, but poets also utilized Chinese characters to compose poetry.
1.1.2 研究现状综述
Vietnam's literary heritage retains a significant collection of Chinese poetry, reflecting many characteristics of ancient Chinese language Historically, the study of ancient Chinese poetry in Vietnam has primarily focused on literary aspects, while research from China has approached it through cultural and literary lenses Additionally, the study of Vietnam's linguistic history is still in its early stages Although Vietnamese scholars have explored the rhyming patterns of ancient Chinese poetry, their research has been limited to the structure of rhyme schemes without delving into the types of rhymes Current research on Vietnamese Chinese poetry mainly focuses on three areas: the collection and organization of materials, the poetic forms, and the content of the poems This article briefly introduces the research status of the first two aspects.
The preservation of ancient Vietnamese literature has been extensively discussed by numerous scholars Phan Si Wu (1997) identified several reasons for the loss of ancient texts, particularly literary works, with war being the primary factor Other contributing issues include the quality of printing paper, printing technology, and preservation efforts Despite dedicated efforts to collect and study ancient literature, the number of surviving texts remains limited During the compilation of "Li - Chen Poetry and Prose (Volume 1)," Nguyen Hue Zhi (1977) summarized the well-preserved literary collections, including the ancient poetry collections from the Li and Chen dynasties, such as those by Phan Phu Tien.
《越音诗集》（1459）、杨德颜《精选诸家律诗》（大概1463）、黎贵敦《全越诗录》
The poetry collections, including Huang Deliang's "Collection of Selected Poems" (1497), primarily compile earlier Chinese poetry, resulting in overlapping content and multiple versions of individual poems Although these works were created after the 15th century, they serve as the sole bridge for studying ancient Vietnamese Chinese poetry The three-volume "Li-Chen Poetry and Prose," edited by Nguyen Hue and others, includes selections from these ancient texts and other reference materials.
到639首汉诗，汉诗著作时间大概从938年到1418年。除了所提的那些诗文之
The 15th century was a flourishing era for Han poetry, featuring renowned poets such as Ruan Lian (1380–1442), Le Thanh Tong (1442–1479), and Ruan Bingqian (1491–1585) The collection "Yizhai Ji" (1971) compiles the works of Ruan Lian, highlighting the significance of this period in the development of Chinese literature.
The article highlights the collection of Chinese poetry in Vietnam, noting that there are 110 poems by Ruan Feiqing and 80 poems compiled by Mei Chunhai in "Li Shengzong's Chinese Poetry" (1994), which features a total of 207 poems by Li Shengzong Additionally, Ding Jiaqing's "Poems and Writings of Ruan Bingqian" (1983) includes 95 poems by Ruan Bingqian Although the surviving ancient Chinese poems from Vietnam represent only a small portion of the total, they effectively reflect the cultural spirit and linguistic characteristics of that era.
According to Yang Guanghan (1993), Vietnamese poetry can be categorized into two main types: those borrowed from China and those developed by the Vietnamese themselves The borrowed forms include two types of verse and parallel prose, focusing on rhyme and meter Vietnamese poets have adopted various Chinese poetic forms such as five-character, seven-character, ancient style, and Tang regulations Despite these borrowed structures, Vietnamese poets have consistently emphasized strict meter and balanced couplets Pei Wenyuan and He Mingde (1971) noted that ancient Vietnamese poets wrote according to the Tang rhyme system; however, no ancient texts on rhyme have been discovered in Vietnam, indicating that the specifics of poetic rhyme usage still require further exploration.
1.1.3 课题的意义
To illustrate the research value of this article, we briefly introduce the fundamental aspects of phonetic studies between Chinese and Vietnamese In 1997, Nguyen Tai Kinh discussed the origins of the Vietnamese phonetic system, utilizing various literary sources and modern ethnic languages to explain the roots of Vietnamese initials and finals He posited that a language referred to as Proto Viet Chut is the ancestral language of Vietnamese This suggests that, in ancient times, Vietnamese and Chinese originated from different language families, indicating no direct kinship; however, significant similarities and even identical features exist, implying contact between the two languages that led to mutual influence Consequently, Nguyen Tai Kinh employed certain Chinese theories to address issues within the Vietnamese phonetic system Although his research project provided a comprehensive overview of the Vietnamese phonetic system, it primarily focused on individual studies of Vietnamese initials and finals In recent years, many scholars in Vietnam have joined the field of phonetic research.
1 越南语本体研究权威的学者
Research on Vietnamese Han poetry from a phonological perspective is rare, with current studies primarily focusing on literary aspects There is a lack of linguistic analysis regarding the rhymes used in Vietnamese Han poetry, which has not been addressed by scholars studying the history of the Vietnamese language or Chinese language history This topic holds significant reference value for the phonetic history of both Chinese and Vietnamese Overall, the research direction is unprecedented, and by integrating methodologies and theories from Chinese phonology, this study will have important implications for the field.
使用的材料和方法
The key to studying the use of rhyme in poetry lies in accurately identifying the rhyme endings, as any misstep can significantly undermine the reliability of the research The determination of rhyme endings primarily depends on the rhyme scheme, which varies across different poetic forms To identify the rhyme endings, we first establish the poetic structure of ancient Chinese poetry, as the end of each line is the fundamental unit of rhyme The meticulous work of verifying rhyme endings is crucial for rhyme studies Given the limited number of poems analyzed, this verification process is particularly important Our approach is largely based on the rhyme endings defined by Mr Wang Li in "The Metrics of Poetry," supplemented by insights from Vietnamese literature, such as the development of poetic forms and structures in "The Poetry and Poetic Forms of Vietnam."
天下遭蒙昧
忠臣匿姓名
中天揭日月
孰不现其形
押韵的韵脚：名、形
（2）段文钦《挽广智禅师》
林峦白首遁京城
拂袖高山远更馨
几愿争巾趋丈席
忽闻遗履掩禅扃
齐庭幽鸟空啼月
墓塔谁人为作铭
道侣不须伤永别
院前山水是真形
押韵的韵脚：馨、扃、铭、形
1 2 1 2 确定韵脚字的音韵地位
After determining the rhyme endings, we refer to the "Guangyun" to establish the phonological status of all rhyming characters The use of "Guangyun" is essential due to its detailed classification of rhymes, which facilitates the examination of the evolution and merging of rhyme groups.
For polyphonic characters, we categorize them into the correct rhyme categories based on the specific rhyming conditions of the poetry For example, the character "车" appears in the 492nd poem "On the Title of Chai Zhuang Yongxing Temple" and the 788th poem "Pan."
“鸦家花斜”押的是麻韵，但在第811首《读尚书有感》叶“书如鱼余”押的是 鱼韵。
Some characters' phonetic positions are not recorded in the "Guangyun," so we refer to other rhyme books to determine their rhyme categories For instance, the character "佳" is classified under the "Jia" rhyme in "Guangyun," while both "Jia" and "Ma" rhymes are noted in "Jiyun." In poem 681, "Jiangxi," the line "过佳多花" is categorized under the "Ma" rhyme, whereas in poem 1012, "Bu Qian Yun," the line "杯怀佳" falls under the "Jia" rhyme The character "涯" is listed under the "Jia" rhyme in "Guangyun," but according to "Hongwu Zhengyun," it has a reading under the "Ma" rhyme as well, as seen in the line "涯花家沙赊" from the poem "He You Ren Yan Xia Yu Xing."
The advantages of statistical methods lie in their strong operability, allowing for the exclusion of subjective interference When sufficient data is available and appropriate methods are employed, these techniques demonstrate considerable reliability.
我们采用了朱晓农在《北宋中原韵辙考》中提出的方法 2 ：
韵次：（记为Y）：已相邻的两韵脚相押一次作为1韵次。
字次：（记为Z）：一个韵脚每押一次，即说它出现1字次。
（2）离合指数（公式一）
离合指数：两韵实际相押比值与理论上相押概率之比。
Khi chỉ số ly hợp I ≥ 100, hai âm điệu đã được hợp nhất Khi 0 < I < 100, giá trị I càng lớn, mối quan hệ giữa hai âm điệu càng gần, và giá trị I càng nhỏ, mối quan hệ giữa hai âm điệu càng xa Nói chung, khi I ≥ 90, có thể coi là đã hợp nhất.
I < 50时，还未合并。当50 ≤ I ≤ 90时，需要使用t分布假设检验。
（3）分辙的数学方法（公式二）
Y đại diện cho tất cả các âm tiết trong hệ thống âm điệu Yjk biểu thị tất cả các âm tiết có sự đối âm giữa chữ J và chữ K Z đại diện cho tất cả các chữ trong hệ thống âm điệu Zj (Zk) biểu thị tất cả các chữ của chữ J (K) trong hệ thống âm điệu.
The "Bu Li He Index," derived from Formula One, is used to assess whether different rhymes within the same category merge Meanwhile, the "Zhe Li He Index," calculated using Formula Two, evaluates the merging of several rhyme patterns While Zhu Xiaonong's statistical methods focus primarily on rhyme patterns, our research targets rhyme categories We begin our analysis with Formula Two and subsequently categorize the results based on the findings.
The statistical software used in this article is developed by Maiyun, based on the statistical methods of Zhu Xiaonong, specifically designed for the analysis of ancient verse materials.
合并的韵部合并为一个“韵辙”，再用公式一进行统计。
1 2 1 4 计算机辅助研究
The widespread use of computer technology in contemporary society has invigorated the study of phonology In recent years, the construction of electronic corpora for phonological research has become increasingly sophisticated, with essential reference works digitized into databases Most materials for rhyme studies are now processed as electronic documents, facilitating computer-assisted phonological research We input all rhyme-ending characters into an ACCESS database, subsequently utilizing its query function to annotate the phonological status of these characters in the "Guangyun," while calculating their rhyme and character sequences.
In our statistical analysis, we utilized the computer software "Mathematical Statistics of Ancient Rhyme Materials," developed by Mai Yun and programmed by Mai Guangwei.
The "Pingshui Rhyme" is one of the most influential rhyme books in ancient poetry, guiding Chinese poets in the composition of regulated verse This article aims to investigate whether the rhyme patterns in ancient Vietnamese Chinese poetry are primarily influenced by the regulations of Chinese regulated poetry or by the interference of Sino-Vietnamese phonetics By comparing the rhyme systems of ancient Vietnamese Chinese poetry with the "Pingshui Rhyme," the study explores the impact of Sino-Vietnamese phonetics on the rhyming practices of Chinese poetry from the 11th to the 15th century.
This article explores Vietnamese Han poetry from the 11th to the 15th century, spanning the Song to Ming dynasties in China The earliest poet discussed is Du Phap Thuan (915–990), while the latest is Le Thanh Tong (1442–1479) Our research primarily draws from various historical materials.
1、阮惠之和编纂组《李 – 陈诗文》（1977），全编共分三册；
2、阮廌《抑斋集》（1971）；
3、丁家庆编《阮秉谦诗文》（1983）；
4、梅春海编《黎圣宗汉字诗》（1994）。
共102位作者，1029首诗。
The analysis reveals a total of 1,042 rhyme segments and 4,263 rhyme endings, including 1,016 single-character rhymes, which pertain to 95 rhyme categories in the "Guangyun."
越南汉诗的用韵
概述
According to Zhu Xiaonong's statistical methods in "A Study of Rhyme Patterns in the Northern Song Dynasty," all rhyme categories are classified into rhyme patterns by merging the finals from "Guangyun." In this work, Zhu not only relies on experience and references from previous rhyme books like "Guangyun" and "Zhongyuan Yinyun," but also provides mathematical formulas to assist in the classification Currently, there are no existing studies on the rhyme usage in ancient Vietnamese poetry as a reference, so we can only use the mathematical methods of rhyme classification.
辙离合指数所反映出的韵部之间的关系是综合分析之后做出判断，具体情 况见于后面的讨论。按照统计的数据（见附录2），越南汉诗用韵分成19辙：
韵辙 所辖《广韵》韵目
支齐 支脂之微齐
鱼侯 鱼虞模尤侯幽
佳咍 佳皆灰咍
歌麻 歌戈麻
东江 东冬钟江
真文 真谆文欣（元）魂痕
先仙 先仙（元）
寒山 寒桓删山
庚青 庚耕清青
覃衔 覃谈衔凡
屋德 屋沃烛觉陌昔锡职德
屑薛 月末屑薛
阴声韵
从越南古代汉诗用韵韵部统计表（附录2）得知支脂辙离合指数为14.4，
支之为19，支微为4.1，脂之为15.4，脂微为5.4，脂齐为2.3，之微为3.3，齐
霁为82.6。辙离合指数都大于2，所以支脂之微齐霁是同一辙。以下用“韵离合
指数”分析本辙中各韵的关系。
表2 支脂之微齐
592 支 脂 之 微 齐
The second column of the table lists the frequency of each rhyme category, with "支" appearing 160 times, "脂" 70 times, "之" 115 times, "微" 167 times, "齐" 78 times, and "霁" only 2 times, resulting in a total of 592 occurrences Below the ladder line, the numbers represent rhyme pairs, indicating that "支" rhymes with itself 30 times, with "脂" 26 times, "脂" with itself 6 times, "支" with "之" 55 times, "脂" with "之" 20 times, and "之" with itself 15 times, along with "支" rhyming with "微."
相押17次，脂与微相押10次，之与微相押为10次，支与齐相押为2，脂与齐
Trong bài viết này, chúng ta xem xét mối quan hệ giữa các âm điệu thông qua chỉ số rời rạc Theo quy định của sách Zhu, nếu chỉ số rời rạc lớn hơn 90, hai âm điệu có thể được coi là hợp nhất, trong khi nếu nhỏ hơn 50, chúng sẽ được tách rời Đối với các chỉ số nằm trong khoảng từ 50 đến 90, cần thực hiện kiểm định giả thuyết phân phối t Mặc dù âm điệu "霁" được phân loại vào nhóm này, nhưng vẫn cần xem xét kỹ lưỡng.
Due to the requirement of tonal harmony in regulated verse, the situation in Vietnamese Han poetry is generally similar; therefore, we treat it as a non-standard form.
《广韵》支脂之同用。从本次所研究的越南古代汉诗上看，支独用30次，脂
独用6次，之独用为15次。支脂相押为26韵次，支之相押为55韵次，脂之相
The rhyme scheme consists of 20 syllables, and the rhyme separation and combination indices meet the merging standards, indicating a fundamental connection among the terms In addition to some level tones, there are also several rising tones that rhyme with "zhi," "zhi," "zhi," "wei," "zhi," "zhi," and "zhi." The specific details are as follows:
表3 纸旨止尾寘至志
26 纸 旨 止 尾 寘 至 志
Bảng cho thấy rằng chỉ số âm điệu của giấy và từ "至" nhỏ hơn 90, do đó cần thực hiện kiểm định giả thuyết phân phối t Tuy nhiên, do số lần từ "纸" và "至" xuất hiện cùng nhau quá ít, việc tính toán kiểm định giả thuyết phân phối t không thể thực hiện một cách chính xác.
The analysis of the rhymes in ancient Vietnamese Chinese poetry indicates that the characters "纸" (paper), "旨" (meaning), and "止" (stop) form a cohesive rhyme group According to Table 3, both "纸" and "旨" share two rhyme connections, while their rhyme separation index suggests a close relationship Additionally, "旨" and "止" are linked through three rhyme connections, further supporting their classification as a single rhyme Overall, the study confirms that "纸," "旨," and "止" belong to the same rhyme category, specifically the upper tone rhymes associated with "支" (branch), "脂" (fat), and "之" (of).
The "Guangyun" rhyme is uniquely utilized in ancient Vietnamese Chinese poetry, where the main rhyme appears twice within a single rhyme segment The rhyme's separation and combination index aligns with established standards In the same rhyme segment, the main rhyme is repeated twice, as seen in Qiao Benjing's "Yikui," which includes the line "kui zhi wei wei gui wei shui zhi." The author lived from 1100 to 1176, during the Song Dynasty in China According to Wang Li, the Song Dynasty's subtle nuances in rhyme can be observed in Xin Qiji's "Nian Nu Jiao • He Zhao Guo Xing Zhi Lu," which features the line "zhi zhi qi ji."
The phrase "意之醉脂世祭计齐贵微戏支" highlights the harmonious connection between the upper tone of "脂" and the upper tone of "微," demonstrating a reasonable rhyme scheme This reflects a deep appreciation for the nuances of language and sound in poetry.
The "Guangyun" dictionary indicates that the characters 寘 (zhì), 至 (zhì), and 志 (zhì) share a common rhyme scheme in ancient Vietnamese poetry, specifically with 寘 and 至 rhyming in the same position This is not merely a case of individual rhyming but rather a connection with 志 Although the occurrences of these characters rhyming together are relatively few, they align with the usage described in "Guangyun." The characters 寘, 至, and 志 correspond to the falling tone rhymes of 支 (zhī), 脂 (zhī), and 之 (zhī), categorizing them under the 支 (zhī) rhyme group.
本辙一共分为“支”、“微”、“齐”三部。
The statistical analysis of the rhyme patterns in ancient Vietnamese Han poetry reveals various separation and combination indices Notably, the index for "鱼幽" is 4.9, while "虞模" has an index of 33.3 The indices for "虞尤" and "虞姥" are 2.6 and 14.1, respectively Additionally, "麌姥" shows a significant index of 178.9, and "麌有" has an even higher index of 536.8 The indices for "尤侯," "尤幽," and "尤有" are 16.1, 14.5, and 3, respectively, with "侯幽" at 11.7 These indices provide insight into the structural characteristics of the poetry.
都大于2，所以它们是同一辙。以下用“韵离合指数”分析本辙中各韵的关系。
We categorize the mentioned rhymes based on their poetic structure, dividing them into two rhyme groups from the "Guangyun": the "Yushi" and "Liushi" rhyme categories.
表4 鱼虞模尤侯幽
752 鱼 虞 模 尤 侯 幽 麌 姥 有
表中鱼虞、鱼模、鱼幽、虞尤、虞侯、模尤、麌姥、尤有都不可能合并。 虞模
The "Guangyun" dictionary indicates that the "Yu" and "Mo" rhymes are used interchangeably According to Table 4, the "Yu" rhyme appears exclusively in 19 instances, while the "Mo" rhyme is found in 29 instances, with both rhymes being paired together 42 times Additionally, the rhyme separation and combination index suggests that "Yu" and "Mo" have already merged into a single rhyme.
The analysis of the rhyme scheme reveals that only one rhyme segment connects the characters 虞 and 姥, with a single occurrence of this rhyme The relationship between 虞 and 姥 is categorized as separate due to the fact that 虞 is in a level tone while 姥 is in a rising tone, and their instances of rhyme are infrequent This connection may be influenced by the phonetic characteristics of Vietnamese words that incorporate Chinese characters, which warrants further discussion.
从表4上看，麌自押为1次，有自押为1次，麌有在两个韵段，两韵通叶
The rhyme index indicates that the two rhymes can form a cohesive unit, despite being derived from different phonetic categories, specifically the "yu" and "liu" categories This unique merging of rhymes will be further explored in the section analyzing the influence of Vietnamese phonetics on the rhymes used in ancient Chinese poetry.
In the study of the "Guangyun," the characters "you" and "hou" are used interchangeably According to Table 4, "you" and "hou" rhyme together 49 times, while "you" and "you" rhyme 8 times, and "hou" and "you" rhyme once The rhyme separation index for "you-hou," "you-you," and "hou-you" indicates a complete merger.
本辙分为三个韵部分别为“鱼”、“虞”、“侯”三部。
从越南古代汉诗用韵韵部统计表（附录2）得知佳皆灰咍同一辙。以下用
“韵离合指数”分析本辙中各韵的关系。
表5 佳皆灰咍
阳声韵
表9 东冬钟江
Theo bảng 9, cần thực hiện kiểm định giả thuyết phân phối t cho các chỉ số rời rạc của Đông Đông Bộ, Đông Chuông, Đông Chuông và Đông Giang, với chỉ số rời rạc nhỏ hơn tiêu chuẩn hợp nhất.
东与冬的t分布假设检验
Nghiên cứu về hệ thống âm điệu của thơ Hán cổ Việt Nam cho thấy khu vực Đông có 46 đoạn âm độc lập, với 204 lần sử dụng Mùa Đông không có âm độc lập, nhưng khu vực Đông và âm mùa Đông có 3 đoạn âm riêng biệt Theo tài liệu "Quảng vận", âm Đông và âm Đông mùa Đông được sử dụng chung với âm Chuông Bảng 9 cho thấy chỉ số tách rời của hai âm Đông và Đông mùa Đông là 83, cần thực hiện kiểm định giả thuyết phân phối t, và kết quả cho thấy hai âm này có thể hợp nhất.
东与钟的t分布假设检验
Theo bảng 9, số lần sử dụng riêng của Đông Bộ là 204, trong khi đó, số lần sử dụng riêng của Trung Bộ là 30, và số lần sử dụng chung giữa Đông và Trung là 49 Trong đó, chỉ có 3 đoạn vần giữa Đông Bộ và Trung Bộ Chỉ số tách rời giữa Đông và Trung là 55, cần thực hiện kiểm định giả thuyết phân phối t, và kết quả kiểm định cho thấy hai vần không có sự hợp nhất.
冬与钟的t分布假设检验
Nghiên cứu cho thấy trong tác phẩm 《广韵》, từ "đông" và "chuông" chỉ có một đoạn vần riêng biệt, với số lần chúng được ghép vần chỉ là 3 Chỉ số tách rời giữa "đông" và "chuông" là 55, điều này yêu cầu thực hiện kiểm định giả thuyết phân phối t, và kết quả kiểm định một lần nữa xác nhận rằng hai từ này không được hợp nhất.
本辙分为“东”、“钟”、“江”三部。
表10 真谆文欣元魂痕
689 真 谆 文 欣 元 魂 痕
In the table, while "混" and "震" are categorized together, we treat them as separate entities due to their lack of self-rhyme Additionally, "混" belongs to the upper tone rhyme, and "震" to the departing tone rhyme, while the other rhyme components fall under the level tone category "先仙" is included in the non-main category because it rhymes with "元." The terms "真文," "真欣," "真魂," "真痕," "谆文," "谆魂," "文魂," "文痕," and "元痕" have a combination index of less than 50, indicating no merging, and further elaboration is unnecessary.
The "Guangyun" demonstrates a true and consistent use of rhyme In ancient Vietnamese Chinese poetry, the instances of true and consistent rhyme reach as high as 65, indicating a clear merging of the two.
《广韵》文欣同用。越南古代汉诗两者相押4次，但还是跟《广韵》还是一致。 元魂
The "Guangyun" dictionary treats the terms "yuan" and "hun" as synonymous, while the "Zhongyuan Yinyun" distinguishes them into separate rhyme categories Vietnamese ancient Chinese poetry, which corresponds to the Chinese Yuan to Ming dynasties, reflects this linguistic evolution This study focuses on the concept of "yuan" in Vietnamese ancient Chinese poetry.
押14韵次，却t分布假设检验也说明两者是分开的。
魂与痕的t分布假设检验
魂、痕通叶为7次，但是t分布假设检验表明两者没有合并。
本辙分为“真”、“文”、“魂”、“痕”、“元”五部。
In the table, the terms "魂" and "痕" are considered non-primary due to their lack of self-rhyme with "元." The line represents a rising tone but does not have self-rhyme, leading us to treat it as non-primary as well The separation index of "元" is less than 50, indicating that the two elements do not merge.
Theo phân tích âm điệu, bài thơ của nguyên tiên có 7 lần sử dụng điệp khúc, trong đó có hai bài thơ hòa hợp với âm điệu trước đó Việc kiểm tra giả thuyết phân phối t cho sự kết hợp của nguyên tiên cho thấy hai yếu tố này không có sự hòa nhập.
The "Guangyun" dictionary indicates that the characters "仙" (xian) and "先" (xian) are interchangeable, as evidenced by their usage in ancient Vietnamese Han poetry, where "仙" appears 151 times Additionally, statistical data shows that "元" (yuan) is distinct from "先" and "仙," as the "元" category has already been mentioned, leading to a clear division in this context.
表12 寒桓删山
表中有寒删的韵离合指数都小于标准当然归于分开。
The analysis of rhyming results in ancient Vietnamese Chinese poetry reveals that the character "寒" rhymes 56 times on its own and 7 times in self-rhymes, while it shares rhymes with "桓" 29 times Although "寒" and "桓" are listed as similar in the "Guangyun" dictionary, the overall statistical data indicates that they do not merge.
寒、山相押为26韵次，t分布假设检验小于临界值t - 2α (n-1)，两者没有合 并。
桓、删相押为14次，t分布假设检验大于临界值t - 2α (n-1)，两者是合并。 桓山
从表12上看，桓山相押的次数为17，韵离合指数刚好达到标准，两者是 合并的。
《广韵》删山同用。从表12上看，删山相押为25韵次，已经合并。
本辙分成“寒”、“桓”二部。
《广韵》阳唐同用，越南古代汉诗阳唐相押高达66次，无疑阳、唐两韵是合 并的。
表14 庚耕清青
The relationship between the characters "庚," "耕," and "清" reveals significant patterns in their usage "庚" appears independently 66 times, while it shares a rhyme with "耕" 5 times, indicating a high rhyme separation index In contrast, "清" is used independently 65 times, and it rhymes with "庚" 136 times, suggesting a complete merger in terms of rhyme Additionally, "耕" and "清" share 6 rhymes, indicating a connection between them.
《广韵》庚耕清同用，表明庚耕清同用无疑。
庚与青的t分布假设检验
清与青的t分布假设检验
从庚青、清青的t分布假设检验看来，青跟庚、清是不可以合并的。
本辙归纳成“庚”、“青”二部。
According to Table 15, the rhyme combination index for the "zheng" and "deng" categories meets the merging standard, with nine rhyme segments showing a connection between them The "zheng" category has one unique rhyme occurrence, while the "deng" category has twenty-one In "Guangyun," it is noted that "zheng" and "deng" are interchangeable, as highlighted by Zhu Xiaonong in "A Study of Rhyme Patterns in the Central Plains during the Northern Song Dynasty," stating that they are similar except for their proximity to the "geng" rhyme This connection is also reflected in ancient Vietnamese Chinese poetry, reinforcing the interchangeability of "zheng" and "deng." This analysis concludes with a summary of the "zheng" category.
从附录1上看，侵出现228次都是独押，所以“侵”独立成一个韵部。
表16 覃谈衔凡
表格说明：表中的韵离合指数小于50者理所当然是分开就此不赘述。 覃谈
《广韵》覃谈同用。从表16上看，覃独押为6次，谈独押为19次，两者相押
为29次，并韵离合指数符合合并标准。
According to Table 16, the character "覃" appears 6 times without being uniquely paired with "衔." The rhyme scheme indicates that there is one instance of "覃" and "衔" rhyming together, but this is not a standalone pairing; it is combined with "谈." The rhyme separation index for "覃" and "衔" meets the criteria for merging.
According to Table 16, the unique rhyme "Qin Du" appears 6 times, while instances without unique rhyme occur 3 times within a single rhyme segment, where both elements rhyme separately This observation indicates that these two rhymes have merged in the context of ancient Vietnamese Chinese poetry.
入声韵
表17 屋沃烛觉陌昔锡职德
96 屋 沃 烛 觉 陌 昔 锡 职 德
德 17 0 0 0 0 0 0 0 5 6 表中有屋职的韵离合指数不符合标准标准。
Do vì số lần tương tác giữa các yếu tố như屋沃、屋觉、陌昔、职德 rất ít, nên việc kiểm định giả thuyết t phân không thể thực hiện một cách bình thường Hơn nữa, chỉ số độ biến động của韵离合 rất lớn, do đó mối quan hệ giữa屋沃、屋觉 và屋职 vẫn chưa thể đưa ra kết luận chắc chắn.
The study of ancient Vietnamese Chinese poetry reveals that the characters for "house" (屋) and "candle" (烛) rhyme together four times The rhyme separation and combination index meets the merging criteria, indicating that "house" and "candle" can be combined in this context.
The "Guangyun" dictionary indicates that the rhymes "沃" (wo) and "烛" (zhu) are used together, with a single instance of mutual rhyme as shown in Table 17 The rhyme indices align, and since "屋" (wu) and "觉" (jue) also rhyme with "沃" and "烛," it follows that if "屋烛" has merged, then "沃烛" should similarly merge.
从表17上看，沃韵无独押，觉韵无独押，沃觉相押为1次。沃觉的韵离合
The indices are standardized With the combination of both the house and the candle, and since they have merged, it is essential for Wo Jue to also integrate.
According to Table 17, the rhyme "陌韵" is not used independently, while "职独押" appears 5 times, and both "陌" and "职" share a rhyme 2 times In the study of ancient Vietnamese Chinese poetry, there is a rhyme segment where "陌" and "职" rhyme separately The line from "不觉女头白" features the characters "白" (rhyme "陌" opening two), "识" (rhyme "职" opening three), and "额" (rhyme "陌" opening two) The "广韵" indicates that "陌" and "麦" share the same usage, while "中原音韵" categorizes "陌韵" under the "皆来" section and "职" under the "齐微" section Despite this classification, the rhyme separation index suggests a merging, likely influenced by the pronunciation in Vietnamese Han-Vietnamese phonetics.
According to Table 17, the rhyme "xi" appears 4 times, while "xi" appears once, resulting in a total of 6 instances of the combined rhyme "xi." From the rhyme scheme, there are 3 rhyme segments where "xi" is paired, with one segment mixed with "mo" and the remaining two segments uniquely featuring "xi." The combination of "xi" and "xi" has been established.
Theo bảng 17, có 5 lần tương đồng giữa "chức đức" trong "Quảng vận" Mặc dù không thể tính toán kiểm định giả thuyết phân phối t, nhưng từ âm điệu, 5 lần tương đồng của "chức đức" xuất hiện trong cùng một đoạn âm, cho thấy hiện tượng này không phải ngẫu nhiên.
本辙分为“屋”、“德”二部。
表18 月末屑薛
Bảng cho thấy rằng, cuối cùng, việc sử dụng âm điệu chỉ xảy ra một lần và không phải là âm điệu độc lập Kiểm định giả thuyết phân phối t không thể hoạt động bình thường, và mối quan hệ giữa chúng hiện tại không thể xác định.
According to Table 18, the moon rhyme and the final rhyme do not have independent押韵, indicating that these two rhymes are not standalone The moon and final rhymes do not rhyme separately, and in the rhyme scheme, there is only one rhyme segment that corresponds with Xue The cohesion index between them meets the standards for merging, but it is not very reliable.
According to Table 18, the "yue" and "xie" rhymes do not have independent押韵, indicating that these two rhymes are not standalone The absence of independent押韵 for "yue" and "xie" suggests that one rhyme segment is combined with the "xue" rhyme The cohesion index between them meets the standard for "yue" and "xie."
The rhyme and harmony index shows significant fluctuations, making it somewhat unreliable; however, for now, we will categorize them under a single rhyme.
According to Table 18, the monthly rhyme does not have a self-rhyme, while the Xue rhyme appears 7 times across 2 rhyme segments, with one segment sharing a rhyme with the Xie The separation and combination index of the monthly Xue is in line with the standard monthly Xue 101, indicating that the two can be considered merged.
《广韵》屑薛同用。从表18上看，屑韵无自押，薛相押为7次，屑薛相押为
The cohesion index between the seven occurrences within the same rhyme segment meets the standard of 127 The two parts of the Xuexue have effectively merged.
It is well-known that the four rhymes of "月末屑薛" in "广韵" are categorized separately according to the rules of exclusive and shared usage According to "中原音韵," the first category of entering tone rhymes with "山摄" is associated with the sounds "歌" and "戈," while the first category of dental sounds and the second category of entering tone rhymes belong to "家" and "麻," and the third and fourth categories of entering tone rhymes are linked to "车" and "遮." The rhyme of "月屑薛" logically fits into a single category, yet the merging of the final rhymes remains difficult to explain Analyzing these examples through the lens of Vietnamese phonetics can provide further insights.
陈烇《云霄庵》叶：歇月uiet雪薛uiet绝薛uiet
范遇《江中夜景》叶：雪薛uiet末末ɑt月月uiet
The poem "On the Plum and Snow Pavilion" by Ruan Zhi reflects on the beauty and purity of nature, using vivid imagery to convey emotions associated with winter The interplay of snow and plum blossoms symbolizes resilience and elegance, while the moonlight adds a serene atmosphere to the scene The poet's exploration of these themes invites readers to appreciate the delicate balance between strength and fragility in the natural world.
小结
This article analyzes 1,029 ancient Vietnamese Chinese poems, categorizing them into 19 rhyme schemes It further breaks down these schemes into 34 rhyme categories, including 11 categories of yin sounds: Zhi, Wei, Qi, Yu, Yu, Hou, and Jie.
The article categorizes various phonetic divisions in Chinese, including the 17 yang tone divisions: Dong, Zhong, Jiang, Zhen, Wen, Hun, Hen, Yuan, Xian, Han, Huan, Yang, Geng, Qing, Zheng, Qin, and the 6 ru tone divisions: Wu, De, Mo, Xie, Zhi, and Duo.
表20 韵部、韵辙关系表
韵辙 韵部 《广韵》韵目
佳咍 皆 佳、皆、灰、咍
萧宵 宵 萧、宵
肴豪 豪 肴、豪
歌麻 歌 歌、戈
先仙 先 先、仙
阳唐 阳 阳、唐
庚青 庚 庚、耕、清
蒸登 蒸 蒸、登
覃衔 覃 覃、谈、衔、凡
屋德 屋 屋、沃、烛、觉
德 陌、昔、锡、职、德
质术 质 质、术
In summary, according to "A Study of Rhyme Patterns in the Northern Song Dynasty," there are two extremes in rhyme books: one represented by "Guangyun," known as the "conformist" school, and the other by "Zhongyuan Yinyun," referred to as the "harmonist" school Statistical analysis of ancient Vietnamese Chinese poetry indicates that the rhyme sections used by poets align with the "harmonist" approach However, our examination reveals that the merging of rhymes is not dictated by Chinese rhyme books We propose further analysis of the Vietnamese Chinese poetry rhyme system from two perspectives: a comparison with "Pingshui Rhyme" and a comparison with Vietnamese Han-Vietnamese phonetics.
越南汉诗用韵同《平水韵》的比较
越南汉诗用韵同《平水韵》的比较
3.1.1 越南汉诗用韵同《平水韵》的比较
Rhyme dictionaries, known as 韵书, were essential tools in ancient China for arranging characters by rhyme, facilitating the creation of poetry According to the "Concise New Edition of Vietnamese Literary History," ancient Vietnamese poets likely composed their works using the "Tang Rhyme" and several rhyme dictionaries imported from China The "Tang Rhyme" is a revised version of the "Qieyun" from the Sui Dynasty, but both texts have not been preserved in their entirety This article analyzes how ancient Chinese poetry primarily utilized the fanqie method based on the "Guangyun," with its classification rooted in the 206 rhyme categories of the "Guangyun."
The ancient Vietnamese Han poetry rhyme system shows some consistency with the "Guangyun," yet it also exhibits merging phenomena that differ from the "Zhongyuan Yinyun." A comparative analysis is made between the ancient Vietnamese Han poetry rhyme system and the Chinese rhyme book "Pingshuiyun." The following is a comparison list that first outlines the rhyme patterns and sections of the ancient Vietnamese Han poetry, followed by the rhyme sections of "Pingshuiyun."
表21 越南古汉诗用韵与《平水韵》比较表
越南古代汉诗韵
3.1.2 越南汉诗用韵同《平水韵》比较的结果
《广韵》的69个韵部，《平水韵》合并成40个，越南古代汉诗韵可以概括成
阴声韵：《平水韵》分支、微、齐、鱼、虞、尤、齐、佳、灰、萧、肴、豪、歌、麻，一
The article discusses the 14 sections of ancient Vietnamese Han poetry, which have been condensed into 11 categories These categories are referred to as: Cheng, Wei, Qi, Yu, Yu, Hou, Jie, Xiao, Hao, Ge, and Ma.
The "Ping Shui Yun" categorizes rhymes into 16 groups: Dong, Dong, Jiang, Zhen, Wen, Yuan, Han, Shan, Xian, Yang, Geng, Qing, Zheng, Qin, Tan, and Xian In contrast, ancient Vietnamese Chinese poetry combines and separates these into 17 categories, referred to as Dong in this article.
The ancient Vietnamese poetry system categorizes rhymes differently from the "Ping Shui Yun" system, which includes ten rhyme categories: 屋, 沃, 觉, 曷, 质, 月, 屑, 陌, 锡, 职, and 铎 In contrast, Vietnamese poetry condenses these into six categories: 屋, 德, 质, 末, 屑, and 铎 Overall, the Vietnamese rhyme scheme features six fewer categories than "Ping Shui Yun," indicating that it does not strictly adhere to the Chinese rhyme rules While Vietnamese poetry respects the traditional Chinese rhyme patterns, it is also influenced by various other factors.
越南古代汉诗韵系跟《平水韵》的不同之处
The lives of ancient Vietnamese poets correspond to the period from the Song Dynasty to the early Ming Dynasty in China Due to the extensive time span of their poetic works, the summarized rhyme schemes may reflect the characteristics of different eras The "Ping Shui Yun," which emerged during the Southern Song period, was created by simply merging 206 rhymes from the "Guang Yun," and it has continued to be passed down to the present day.
The rhyme system of ancient Vietnamese Han poetry shares similarities with the Ping Shui Rhyme, yet notable differences exist We will categorize these differences into three groups: Yin rhymes, Yang rhymes, and Ru rhymes.
The ancient Vietnamese Han poetry rhyme system consists of the branches of Zhi, Wei, and Qi, which differ from the Ping Shui rhyme system In Vietnam's ancient Han poetry, these three branches share the same tone, allowing them to rhyme with one another This unique characteristic distinguishes the Zhi, Wei, and Qi branches summarized in this article from their corresponding rhyme sections in the Ping Shui system.
根据《平水韵》，鱼部、虞部、尤部不能相押，但越南古代汉字的鱼部、虞部、
The ability of the Houbu to connect with the leaves reflects a distinctive feature of the rhyming style found in ancient Vietnamese Chinese poetry, which will be discussed in the next chapter.
The "Jiebu" and "Huibu" sections of the "Pingshui Rhyme" were merged in ancient Vietnamese Han poetry into the "Jiebu" category According to the "Zhongyuan Yinyun," the "Jiebu" includes the second and first categories of the "Xie" and "Kai" sounds, namely the "Jia," "Jie," "Hui," and "Hai" rhymes This merger in ancient Vietnamese Han poetry closely resembles the "Zhongyuan Yinyun" from the Yuan Dynasty, as the timing of the poetic works that utilize the "Jiebu" corresponds to that of the Chinese Yuan Dynasty, inevitably reflecting the phonetic characteristics of that era Additionally, the merging of the "Jiebu" may have been influenced by the phonetics of Vietnamese characters.
The ancient Vietnamese Han poetry utilizes the 豪部 rhyme system, which is derived from the combination of the 肴韵 and 豪韵 as outlined in the 《广韵》 Both 肴豪 are treated as independent in the 《广韵》 and 《平水韵》 According to the 《中原音韵》, all rhyme categories are merged into the 萧豪部, while the 肴韵 and 豪韵 merge to form the 豪部, and the 萧韵 and 宵韵 combine to create the 萧部 However, the relationship between the 豪部 and 萧部 remains independent This merging of 肴韵 and 豪韵 differs from the merging rules in 《平水韵》 and 《中原音韵》, likely influenced by the phonetic characteristics of Vietnamese Han characters.
The "Pingshui Rhyme" system distinguishes between the "Ge" and "Ma" rhyme categories, which are independent and cannot be rhymed together In ancient Vietnamese Chinese poetry, the division of these two rhyme categories led to instances of mutual rhyming, a characteristic that differs from the conventions of "Pingshui Rhyme."
In ancient Vietnamese Chinese poetry, the Dongdong and Zhong rhyme categories have merged into a single group; however, they remain distinct in the Ping Shui rhyme system According to the Zhongyuan Yinyun, all rhyme categories are classified under the Dongzhong section, highlighting the unique merging of Dongdong while keeping Zhong independent Additionally, the Dongjiang rhyme features a distinction from the Ping Shui rhyme, as the Dong and Jiang rhymes are paired, a phenomenon that can be further explored through Vietnamese Han-Vietnamese phonetics.
The evolution of the rhyme categories in the "Zhen Wenzhe" is quite complex due to the numerous rhyme groups and their multi-layered relationships While the "Pingshui Rhyme" categorizes the Zhen, Wen, and Yuan into three distinct rhyme groups, ancient Vietnamese Han poetry divides them into five: Zhen, Wen, Hun, Hen, and Yuan, which all rhyme with each other This significantly differs from the "Pingshui Rhyme" rules, which do not allow for rhyming among the Zhen, Wen, and Yuan groups However, Vietnamese poets have not adhered to this guideline, and the reasons for this will be explored in the following section Additionally, the rhyming within the Yuan group is also a topic worthy of discussion.
The Yuan rhyme in the "Ping Shui Yun" is an independent rhyme category formed by the combination of the Yuan, Hun, and Hen from the "Guang Yun." However, the specific usage of rhymes in ancient Vietnamese Chinese poetry differs significantly from "Ping Shui Yun," as Yuan, Hun, and Hen belong to different rhyme categories According to the rules of "Ping Shui Yun," the Yuan rhyme should not be paired with the Xian rhyme, yet in the Vietnamese ancient Chinese poetry rhyme system, Yuan is a relatively independent category that can rhyme with Xian and Xian, but it is not merged with them.
The "Pingshui Rhyme" system indicates that the Han rhyme merges with the Huan rhyme to form the Han category However, recent research findings suggest that the Han category is actually independent.
The text discusses the classification of certain Chinese phonetic elements It states that "桓" and "删" are combined with "山" to form a single category According to "中原音韵," "寒" and "桓" are treated separately, with "寒" being associated with "删" and "山" in the "寒山" category, while "桓" is categorized under "桓欢."
The ancient Vietnamese poetic rhyme systems, specifically the Geng and Qing categories, differ from the Ping Shui rhyme scheme Although they are classified into two distinct rhyme groups, they share a common lineage According to the rules of the Ping Shui rhyme, these two categories should not rhyme together; however, instances of their rhyming coexist frequently in Vietnamese poetry.
The ancient Vietnamese Han poetry rhyme system's Qian section corresponds to the merger of the Qian and Xian sections in the Ping Shui rhyme scheme In contrast, the Zhongyuan phonology categorizes the lip consonant characters of the Fan rhyme, while the Qian and Tan sections in the Guangyun rhyme are included in the Jian Xian section Notably, works featuring Qian and Xian rhymes date back slightly earlier than the Chinese Yuan Dynasty This allows us to examine the unique rhyme characteristics from the perspective of Vietnamese Han-Yue phonetics.
《平水韵》的屋部、沃部和觉部根据越南古代汉诗用韵的情况都归入屋部。
The "Central Plains Phonology" categorizes sounds into the Yu Mo, You Hou, and Xiao Hao groups Although the number of entering tone rhymes we have recorded is limited, the emergence of the rhyme house in ancient Vietnamese Han poetry is likely influenced by the phonetic characteristics of the Vietnamese language at that time.
小结
Compared to the "Ping Shui Yun," Vietnamese Han poetry generally features more combined rhymes, although it also utilizes some rhymes from the "Ping Shui Yun." For instance, certain rhymes such as "冬" (dong) and "钟" (zhong), as well as "魂" (hun), "痕" (hen), and "元" (yuan), are used distinctly in Vietnamese Han poetry Additionally, many rhymes that are distinct in the "Ping Shui Yun" are combined in Vietnamese Han poetry, including "支" (zhi), "微" (wei), "齐" (qi), "鱼" (yu), "虞" (yu), "尤" (you), "佳" (jia), "灰" (hui), "肴" (yao), "豪" (hao), "歌" (ge), "麻" (ma), "东" (dong), "冬" (dong), "江" (jiang), "真" (zhen), "文" (wen), "元" (yuan), "寒" (han), "删" (shan), "覃" (qin), "咸" (xian), "屋" (wu), "沃" (wo), "觉" (jue), "陌" (mo), "锡" (xi), "职" (zhi), "月" (yue), and "屑" (xie).