研究现状综述
Vietnam’s literary heritage still preserves a significant collection of Chinese poetry, which reflects the characteristics of classical Chinese language Historically, Vietnam has primarily studied ancient Chinese poetry from a literary perspective, while Chinese scholars have also approached Vietnamese ancient Chinese poetry through cultural and literary analyses Additionally, research on Vietnam’s language history remains in its early stages; although Vietnamese scholars have examined rhyming patterns in ancient Chinese poetry, their focus has mainly been on poetic forms rather than phonological classification of rhyme groups Currently, studies on Vietnamese Chinese poetry mainly concentrate on three areas: the collection and organization of data, the poetic forms, and the content of the poetry This article provides a brief overview of the research developments related to the first two aspects.
Vietnamese scholars have provided detailed insights into the preservation of ancient Vietnamese literary texts According to Pan Shiwu (1997), the loss of ancient books, especially literary works, is mainly due to war, with other factors including poor-quality paper, limited printing technology, and inadequate preservation efforts Despite dedicated efforts to collect and study ancient literature, surviving texts remain scarce Nguyen Hui Zhi (1977) noted that during the compilation of "Li – Chen Poetry and Prose (Volume One)," the editorial team documented some well-preserved literary collections from the Li and Chen dynasties, highlighting the challenges in preserving Vietnam's rich literary heritage.
《越音诗集》（1459）、杨德颜《精选诸家律诗》（大概1463）、黎贵敦《全越诗录》
Key works such as Huang Deliang's "Poetry Collection of Selected Elegant Poems" (1497) and other similar anthologies primarily compile ancient Chinese poetry, leading to overlapping content and multiple versions of some poems Although these collections were all produced after the 15th century, they serve as the only vital references for studying classical Vietnamese Chinese poetry Notably, the "Li - Chen Poetry and Literature" (three volumes), compiled by Nguyễn Huy, gathers works from various ancient texts and supplementary sources, making these collections indispensable for understanding the evolution of ancient Vietnamese Chinese literary traditions.
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
外，15世纪是汉诗盛行的时代，相当著名的诗人还有阮廌（1380—1442）、黎
圣宗（1442—1479）、阮秉谦（1491—1585）。《抑斋集》（1971）收集了阮廌的
This article highlights significant collections of classical Chinese poetry by Vietnamese poets It includes 110 of Ruán Fēiqīng's poems and 80 of Rǔan's works, showcasing their literary contributions Méi Chūnhǎi's 1994 compilation, *Lí Shèngzōng Hànzì Shī*, features a total of 207 of Lí Shèngzōng's Chinese poems, emphasizing his cultural influence Additionally, Dīng Jiāqìng's 1983 collection, *Ruǎn Bǐngqiān Shīwén*, gathers 95 of Ruǎn Bǐngqiān's Chinese poems Despite these being only a small portion of Vietnam's ancient Chinese poetry, they vividly reflect the era's cultural spirit and linguistic characteristics This selection underscores the importance of Vietnamese Chinese poetry in understanding historical literary and cultural developments.
Vietnamese poets historically employed two main types of poetry: those borrowed from China and those independently developed by Vietnamese writers Borrowed forms include two types of verse and parallel prose, with a focus on rhyme and rhyme scheme, although their specific rhythmic and structural features are not detailed here Vietnamese poets adapted Chinese poetic styles such as five-character and seven-character verses, ancient styles, and Tang律 (Tang regulations), demonstrating their dedication to strict metrical and structural rules Despite borrowing from Chinese traditions, Vietnamese poets emphasized precise form and balanced couplets, adhering closely to Chinese Tang韵 (rhyme) patterns, although no ancient rhyme books from Vietnam have been found to date, indicating the need for further research into their specific rhyming practices.
课题的意义
To emphasize the research value of this study, we briefly introduce the fundamental aspects of Vietnamese-Han phonological research Nguyen Tai Kin (1997) discussed the origins of Vietnamese phonology, utilizing various historical documents and modern ethnic languages to explain the development of Vietnamese initials and finals He proposed the existence of a Proto-Viet Chut, considered the ancestral language of Vietnamese This suggests that, in ancient times, Vietnamese and Chinese stemmed from different language families, lacking a direct genetic relationship, yet sharing numerous similarities and even identical features Such commonalities indicate past language contact and influence Consequently, Nguyen Tai Kin's work applies Chinese linguistic theories to interpret certain phonological phenomena in Vietnamese, offering a comprehensive but primarily individual study of Vietnamese phonetics Recently, Vietnamese scholars have actively contributed to this field, expanding understanding of the language's phonological system.
1 越南语本体研究权威的学者
Research on Vietnamese Han poetry is scarce, especially from an phonological perspective, despite the existence of studies focusing on literature Currently, there is a notable gap in research examining the rhyming conventions of Vietnamese Han poetry, with little attention from scholars studying either Vietnamese language history or Chinese phonology This area of study holds significant reference value for both the history of Chinese and Vietnamese phonetics Overall, this research direction is unprecedented and, by integrating Chinese phonological theories and methodologies, it promises to make a meaningful contribution to the field.
使用的材料和方法
方法
Accurately identifying the rhyme ending (韵脚) is crucial for studying Chinese poetry's rhyming patterns, as errors can significantly undermine the reliability of the analysis The placement of the rhyme ending varies across different poetic forms, and determining it involves understanding the specific rhyme scheme and poetic structure Typically, the rhyme ending is found at the end of each line, serving as the fundamental unit of rhyme in Chinese poetry Careful verification and correction of rhyme endings are essential for in-depth rhyming research Since our sample size is relatively small, meticulous editing is particularly important Our primary reference for identifying rhyme endings is Wang Li's "Poetry and Rhyme Rules," supplemented by insights from Vietnamese literary works such as "Development of Vietnamese Poetry Forms," to ensure comprehensive and accurate analysis.
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》
In the serene solitude of the mountains, the white-haired poet retreats from the bustling capital, seeking tranquility away from worldly distractions His farewell to high peaks is marked by a longing to reunite with nature's purest essence, while the sudden discovery of forsaken sandals hints at a profound spiritual departure The quiet birds in the courtyard sing under the moon, reflecting a sense of peaceful mourning, as monuments stand silent—reminders of loved ones and eternal memories Truly, there is no need for sorrow over separation from companions, for the mountain waters before the courtyard embody the enduring reality of nature’s authentic form.
1 2 1 2 确定韵脚字的音韵地位
After determining the rhymes, we used the "Guangyun" to establish the phonetic positions of all rhyme characters The reason for choosing "Guangyun" is its detailed division of rhymes, which facilitates the study of the evolution and differentiation of rhyme groups.
When dealing with polyphonic characters in poetry, we categorize them into the appropriate rhyme groups based on the specific rhyming patterns of the poem For example, the character "车" is classified within the correct rhyme group by examining its use in different poems, such as in Poem 492, "On the Pavilion at Chai Village Yongxing Temple," where it appears in the line "family flowers," and in Poem 788, "The Plate," where it also contributes to the rhyme scheme.
“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 missing in Guangyun; in such cases, we refer to other rhyme books outside of Guangyun to determine their rhyme groups For example, the character “佳” is categorized under Jia rhyme in Guangyun, but in Jijue, it is listed in both Jia and Ma rhymes In Poem 681 "Jiangxi," the phrase “过佳多花” is assigned to Ma rhyme; similarly, in Poem 1012 "Bu Qian Yun," the phrase “杯怀佳” is classified under Jia rhyme The character “涯” is placed in Jia rhyme in Guangyun, but according to Hongwu Zhengyun, it has a Ma rhyme reading In the poem "Yahua Jia Sha Sha" by He Youren, “涯” is assigned to Ma rhyme as well.
The advantage of statistical methods lies in their high operability, effectively minimizing subjective bias When sufficient data is available and appropriate techniques are applied, statistical analysis offers a high level of reliability for accurate results.
我们采用了朱晓农在《北宋中原韵辙考》中提出的方法 2 ：
（1）统计单位 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 hợp nhất I ≥ 100, hai âm vị đã hòa quyện lại với nhau Trong khoảng từ 0 đến 100, giá trị I càng lớn thì mối quan hệ giữa hai âm vị càng gần, còn giá trị I càng nhỏ thì chúng càng xa nhau Thông thường, khi I ≥ 90, có thể coi hai âm vị đã thực sự 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）
Trong bài viết này, chúng tôi giới thiệu ký hiệu Y biểu thị tất cả các loại lệch trong hệ thống vần Ký hiệu Y jk thể hiện tất cả các lệch mà các chữ H vần J và K vần cùng vần Ký hiệu Z đại diện cho tất cả các chữ trong hệ thống vần Cuối cùng, Zj (Zk) chỉ các chữ thuộc hệ thống vần J (K) trong toàn bộ danh mục chữ trong hệ thống vần.
朱晓农's "Formula One" calculates a "BuLiHe Index," used to determine whether the same rhyme group within a specific phonetic boundary can be merged "Formula Two" produces a "ZheLiHe Index," which assesses whether multiple rhyme zhes should be combined While Zhu Xiaonong's statistical approach primarily focuses on rhyme zhes, our research concentrates on rhyme groups (Yun Bu) We first utilize Formula Two for initial analysis and then interpret the results to identify mergeable rhyme groups, ensuring a comprehensive understanding of phonetic relationships.
This article utilizes the computer statistical software developed by Maiyun, based on Zhu Xiaonong's statistical methodology outlined in "Mathematical and Statistical 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 revitalized research in phonology In recent years, electronic corpora for phonological studies have been increasingly developed, with essential reference works transformed into digital databases and韵研究 materials primarily processed as electronic texts, facilitating computer-assisted phonological research By inputting all rhyme-ending characters into an ACCESS database and utilizing its query functions, researchers can annotate the phonetic status of rhyme words in the "Guangyun" and analyze rhyme patterns and character distributions.
In our statistical analysis, we utilized the computer software "Mathematical Statistics of Ancient Rhyme Materials," developed by Mai Yuncing and Mai Guangwei This software plays a crucial role in analyzing ancient rhyme data, ensuring accurate and efficient statistical computations By applying advanced algorithms, it enhances the analysis of historical linguistic patterns, making it an essential tool for researchers in this field.
"PingShui Yun" is one of the most influential rhyming dictionaries for ancient Chinese poetry, guiding poets to adhere to specific rhyme patterns in regulated verse To determine whether Vietnam's classical Chinese poetry was primarily influenced by Chinese poetic rules or affected by Sino-Vietnamese phonetics, this study compares the Vietnamese classical Han poetry rhyme system with "PingShui Yun." The research explores how Sino-Vietnamese phonology from the 11th and 15th centuries impacted the construction of rhymes in Vietnamese Han poetry, revealing the complex interplay between Chinese poetic conventions and local linguistic influences.
材料
This article explores Vietnamese Chinese poetry from the 11th to the 15th century, covering the period from the Song to the Ming dynasties The earliest poet studied is Du Fashun (915–990), while the latest is Li Shengzong (1442–1479) Our research primarily draws on historical literary materials and poetic collections from this era to analyze the development of Chinese-style poetry in Vietnam.
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。
Through analysis, a total of 1,042 rhyme groups and 4,263 rhyme endings have been identified, including 1,016 single-character rhymes that conclude with rhyme This study encompasses 95 rhyme sections from the "Guangyun," highlighting the extensive diversity and structure within classical Chinese phonology These findings provide valuable insights into the systematic organization of Chinese rhymes, essential for understanding traditional poetry and linguistic patterns.
越南汉诗的用韵
概述
According to Zhu Xiaonong’s statistical methodology in "Northern Song Central Plain Rhyme Tracing," all rhyme groups should be classified into rhyme zones by merging the finals of the "Guangyun." Zhu combines empirical analysis with historical rhyming texts like "Guangyun" and "Zhongyuan Yinyun" as reference points, and employs mathematical formulas to assist in the classification process Since there is currently no research on the use of rhyme in ancient Vietnamese Chinese poetry, we rely solely on the mathematical approach to divide the rhyme zones, ensuring a systematic and objective categorization.
The Zhe-Lihe index reflects the relationships between rhyme groups, which are determined through comprehensive analysis According to statistical data (see Appendix 2), Vietnamese classical Chinese poetry employs rhymes categorized into 19 distinct groups.
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
The Zhenglihe index for Ji is 82.6, with both Zhelihé and Zhìlìhé exceeding 2, indicating that Zhīzhī and Wuqi are part of the same Zheng Using the "yunlihe index," we can analyze the relationships among the various rhymes within this Zheng, providing insights into the phonetic connections and structural coherence of the poem This approach helps deepen the understanding of tonal and rhyme patterns, essential for accurate classical Chinese poetry analysis.
表 2 支脂之微齐
592 支 脂 之 微 齐
The second column in the table displays the number of characters for each rhyme group, with Zhi rhyme appearing 160 times, Ze rhyme 70 times, Zhi rhyme 115 times, Wei rhyme 167 times, Qi rhyme 78 times, Ji rhyme 2 times, and the total number of characters across all groups reaching 592 The figures below the stepped line represent the rhyme transition counts, such as Zhi rhymes occurring 30 times with the main rhyme, Zhi and Fei rhymes pairing 26 times, Fei rhyming independently 6 times, Zhi and Zhi rhyming 55 times, Fei and Zhi rhyming 20 times, Zhi rhyming independently 15 times, and Zhi and Wei rhyming interactions.
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 quy tắc về tương quan giữa các âm điệu trong thơ, trong đó 相押2次 và 齐与霁 đều tương ứng 2 lần Các số trên đường cấp độ thể hiện chỉ số rời rạc của các vần, giúp xác định mức độ quan hệ giữa các vần Theo quy định của sách chữ đỏ, nếu chỉ số rời rạc lớn hơn 90 thì có thể hợp nhất hai vần thành một, còn nếu nhỏ hơn 50 thì có thể tách ra thành hai vần riêng biệt Những giá trị nằm trong khoảng từ 50 đến 90 đòi hỏi phải thực hiện kiểm định giả thuyết theo phân phối t để xác định rõ hơn mối quan hệ Mặc dù phương pháp này được áp dụng cho các vần như霁, nhưng vẫn cần phân tích cẩn thận để đảm bảo chính xác trong đánh giá các mối liên hệ âm điệu trong thơ cổ truyền.
In traditional regulated poetry, rhyme schemes require consistent tone patterns, a principle also observed in Vietnamese Han poetry As a result, we treat such poetry as belonging to a different poetic tradition, distinguishing it from other forms to better understand its unique stylistic features.
《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 article explains that the section adheres to 20 rhyme cycles, with the rhyme separation index meeting the standards for merging, indicating that "zhi," "zhi," and "zhi" are fundamentally connected Besides some level tones, it also includes certain rising tones that rhyme with "zhi," "zhi," and "zhi," such as "zhi," "zhi," and "zhi," which are important considerations for phonetic cohesion in Chinese poetry These details highlight the linguistic relationships and phonetic patterns crucial for understanding classical Chinese rhyme structures and their standardization for poetic composition.
表 3 纸旨止尾寘至志
26 纸 旨 止 尾 寘 至 志
Trong bài viết này, chúng tôi lưu ý rằng chỉ số hợp âm giữa giấy và chữ số là dưới 90, do đó cần thực hiện kiểm định giả thuyết phân phối t Tuy nhiên, do số lần hòa âm giữa giấy và chữ số quá ít, nên phép kiểm định phân phối t không thể thực hiện một cách chính xác Điều này nhấn mạnh tầm quan trọng của số lượng dữ liệu trong quá trình phân tích thống kê để đưa ra kết luận chính xác và tin cậy.
According to Guangyun, the characters for "paper" (纸) and "aim" (旨) share the same rhyme, indicating a close phonetic relationship The rhyme similarity index shows that "paper" and "aim" are effectively interchangeable in their rhyme patterns, with "aim" and "stop" (止) also sharing similar rhymes, further supported by their combined indices Overall, the study of ancient Vietnamese Chinese poetry reveals that "paper," "aim," and "stop" are treated as a unified rhyme group These characters—纸, 旨, and 止—belong to the high-level tone of the "support" (支) rhyme group, specifically within the 支 category, confirming their phonetic classification within the same rhyming branch.
In classical Vietnamese poetry, the ending rhyme, or "尾," is used uniquely within the "Guangyun" system, typically occurring twice within a single rhyme stanza, indicating a strong rhythmic pattern The index of the rhyme's cohesion aligns with standard merging criteria, with the same ending rhyme appearing twice in the same rhyme segment to maintain poetic harmony Zhang Benjing's work, "Yi Kui," emphasizes the significance of the "尾," noting its importance in forming a cohesive rhyme structure, as illustrated by the phrase “揆旨尾尾鬼尾水旨.” The poet believed to have lived between 1100 and 1176 during the Song Dynasty, demonstrates that during this period, the practice of rhyme matching was proficient, as seen in works by prominent poets like Xin Qiji, who showcases the intricate use of rhyme in his poetry, exemplified in "Nian Nu Jiao"—a reflection of the meticulous phonetic artistry characteristic of Song-era poetry.
The article discusses the poetic harmony between the words "zhi" (脂) and "wei" (微), highlighting that both share the Shang tone rhyme, with "zhi" ending in the Shang rhyme for "zi" and "wei" in the same tone This rhyme alignment creates a pleasing and consistent sound pattern, illustrating the beauty of classical Chinese poetry where the end sounds of words are carefully coordinated for aesthetic harmony The concept underscores how pronunciation and tonal rules contribute to the overall coherence and musicality of poetic compositions.
In classical Vietnamese poetry, the rhyme segments "寘" and "至" are used interchangeably with "志," forming a rhyming pattern where these sounds are linked rather than being used independently Although the occurrences of rhymes with "寘," "至," and "志" are relatively few, their usage aligns with the descriptions found in the "Guangyun," indicating they share the same phonetic functions These endings—寘, 至, and 志—represent the voiced sounds of "支," "脂," and "之," respectively, and are classified within the "支" rhyme group in traditional Chinese phonology, highlighting their phonetic and poetic connection.
本辙一共分为“支”、“微”、“齐”三部。
The analysis of ancient Vietnamese Chinese poetry reveals that the Zhe He Li Hexi indices vary significantly among different rhymes, with values such as 4.9 for Yu You Zhe, 33.3 for Yu Mo Zhe, and as high as 536.8 for Yu You Zhe Since all the Zhe He indices exceed 2, these rhymes are classified within the same rhyme group Using the "Yun Li He Index" as a basis, the rhymes are divided into a single group that includes the two rhyme sections—Yushè and Liushè—from the Guangyun rhyme dictionary This classification helps in understanding the relationship among various rhymes and their grouping in the context of classical Vietnamese Chinese poetry.
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
According to the "Guang Yun," Yu and Mo rhymes are used interchangeably Data from Table 4 shows that Yu rhyme is used independently 19 times, while Mo rhyme appears independently 29 times, with a total of 42 instances where both rhymes are in close proximity Additionally, the rhyme separation and combination index indicates that Yu and Mo rhymes have effectively merged into a single rhyme category, highlighting their close phonetic relationship and usage in classical Chinese poetry.
In terms of rhyme schemes, only one rhyme pair exists between "Yu Lao," with the "Yu" and "Lao" sharing a single rhyme occurrence "Yu Lao" rhymes involve the flat tone, and such rhymes are infrequent, leading us to categorize their relationship as separate The rare rhyme connection between "Yu" and "Lao" may be influenced by the incorporation of Vietnamese phonetics into Chinese characters, a topic to be explored further.
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 pattern in the poem involves three rhymes, with the rhyme separation index indicating the potential for one unified rhyme This combination is unique because it merges rhymes from different tones, specifically the Yu and Liu tones We will explore how ancient Vietnamese Chinese poetry's use of rhymes was influenced by the Vietnamese Han character pronunciations in a subsequent discussion.
According to Guangyun, the rhyme groups of "You" and "Hou" are commonly used interchangeably, indicating strong phonetic similarities The data shows that "You" and "Hou" rhyme together 49 times, "You" and "You" rhyme 8 times, and "Hou" and "You" rhyme once, demonstrating significant overlap The rhyme separation index for "You" and "Hou," "You" and "You," and "Hou" and "You" indicates a complete merger of these rhyme groups, reflecting their close phonological relationship in classical Chinese poetry.
本辙分为三个韵部分别为“鱼”、“虞”、“侯”三部。
阳声韵
表 9 东冬钟江
Theo bảng 9, việc kiểm tra giả thuyết phân phối t cần thực hiện đối với các chỉ số độ hòa hợp của Đông Đông Bộ, Đông Zhong, Đông Zhong, và Đông Giang Kết quả cho thấy các chỉ số này đều nhỏ hơn tiêu chuẩn hợp nhất, cho thấy sự phù hợp của dữ liệu với giả thuyết phân phối t và hỗ trợ việc tổng hợp các dữ liệu này trong phân tích thống kê.
东冬 东与冬的t分布假设检验
Dựa trên phân tích của nghiên cứu về bảng vần của thơ ca cổ Việt Nam, có 46 nhóm vần độc quyền ở phía Đông, xuất hiện 204 lần Không có nhóm vần độc quyền trong mùa đông, nhưng có 3 nhóm vần liên kết riêng biệt giữa phía Đông và mùa đông Theo "Quảng Vận", phía Đông độc quyền và mùa đông cùng với chuông có thể sử dụng chung nhóm vần Kết quả kiểm định giả thuyết phân phối t cho chỉ số tần suất hợp nhất của các nhóm vần Đông và đông mùa là 83, cho thấy hai nhóm vần này có khả năng hợp nhất dựa trên phân tích thống kê.
东钟 东与钟的t分布假设检验
Dựa trên bảng 9, con số các trường hợp riêng biệt của miền Đông là 204 và của miền Trung là 30, trong khi đó có 49 trường hợp phối hợp giữa miền Đông và miền Trung Chỉ có 3 nhóm vần duy nhất liên quan đến miền Đông và miền Trung cùng vần, cho thấy mức độ liên kết giữa hai vùng là khá thấp Chỉ số hòa hợp giữa miền Đông và miền Trung là 55, yêu cầu thực hiện kiểm định giả thuyết phân phối t để xác định liệu chúng có thể hợp nhất hay không Kết quả kiểm định cho thấy không có sự hợp nhất rõ ràng giữa các nhóm vần của hai khu vực.
冬与钟的t分布假设检验
Trong nghiên cứu này, chúng tôi nhận thấy rằng trong tác phẩm của 《广韵》, các chữ đông và chuông thường dùng cùng nhau, nhưng chỉ có một đoạn韵 duy nhất chứa cả hai từ này Số lần các từ này cùng韵 rất ít, chỉ 3 lần, cho thấy sự liên quan chưa thực sự chặt chẽ Chỉ số phân tích đông và chuông đạt mức 55, thấp hơn nhiều so với mức ngưỡng cần thiết để coi chúng có thể hợp nhất Kết quả kiểm định giả thuyết theo phân phối t cho thấy rằng hai phần này chưa đủ điều kiện để hợp nhất thành một nhóm chung, xác nhận rằng chúng tồn tại sự phân tách rõ ràng trong cấu trúc韵 của tác phẩm.
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
Although the混 and震 categories are included in this section, we treat them as non-base categories because they lack their own rhyme schemes 混 and震 do not have inherent rhymes, with 混 being an upper tone rhyme and震 a departing tone rhyme, while other rhyme components are classified as level tone rhymes Since先仙 shares the same rhyme with元, it is placed outside the main rhyme category in this analysis The 离合 (separation and merging) indices for combinations like真文, 真欣, 真魂, 真痕, 谆文, 谆魂, 文魂, 文痕, and 元痕 are all below 50, indicating no merging occurs, so further discussion of their combinations is unnecessary.
The ancient Vietnamese Chinese poetry strongly reflects the use of the Guangyun phonetic system, with a high number of rhyming matches reaching up to 65 This indicates a significant authenticity and consistency in the use of rhymes, suggesting that the two are essentially unified in their poetic practices.
《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
In the "Guangyun," Yuan Hun Hen is used uniformly, but by the time of the "Zhongyuan Yinyun," they are categorized into different rhyme groups Vietnamese ancient Chinese poetry, spanning from the Yuan Dynasty to the Ming Dynasty, reflects these phonetic and rhyming distinctions This study examines how Vietnam's classical Chinese poetry preserves aspects of Yuan Hun and Yuan Soul, highlighting its linguistic and poetic evolution across different historical periods.
押14韵次，却t分布假设检验也说明两者是分开的。
魂痕 魂与痕的t分布假设检验
= 0.05，n = 16 t = -2.354 < t - 2α (n-1) = -1.753 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 characters "魂" and "痕" are classified as non-original rhymes because they are associated with the Yuan tone Additionally, the lines are considered non-original rhymes since they are in the rising tone and lack internal rhyme, which influences their classification The Yuan initial's separation index is less than 50, indicating that these two elements are not merged according to traditional phonetic rules.
Trong bài viết, đã phân tích phương pháp kết hợp của tác phẩm "元仙" dựa trên bảng âm điệu, cho thấy "元仙" thông qua 7 lần liên kết với "叶" Trong đó, có hai bài thơ đồng điệu với âm điệu tiên phong, thể hiện sự đa dạng trong cách sử dụng âm điệu của tác giả Phân tích về chỉ số rời rạc của "元仙" cho thấy cần áp dụng phương pháp kiểm định giả thuyết phân phối t Kết quả kiểm tra cho thấy không có sự kết hợp giữa các yếu tố, phản ánh tính riêng biệt và độc lập trong cấu trúc của tác phẩm "元仙" Các thông tin này cung cấp cái nhìn rõ ràng về đặc điểm âm điệu và phân bổ của tác phẩm theo tiêu chuẩn SEO.
In classical Chinese poetry, the characters "仙" (immortal) and "先" (preceding) are used interchangeably, with "仙" appearing 151 times in ancient Vietnamese Chinese poetry, demonstrating their widespread and accepted usage Statistical analysis indicates that the term "元" (original, primary) is distinct from "先" and "仙," as it belongs to a different category, highlighting the nuanced differentiation in classical Chinese lexical usage.
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。
Trong phân tích các kết quả về vần điệu trong thơ Hán cổ của Việt Nam, có 56 lần vần 'Han Tự', 7 lần vần 'Cha Tự', và tổng cộng có 29 lần vần chung giữa hai loại Mặc dù cả 'Han Huan' và 'Han Tự' đều xuất hiện trong từ điển 'Quảng Vận', dữ liệu thống kê tổng thể cho thấy 'Han Huan' không thực sự hợp vần với 'Han Tự', phản ánh đặc điểm về cấu trúc vần trong thơ cổ Việt Nam.
= 0.05，n = 16 t = -13.130 < t - 2α (n-1) = -1.753 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。
= 0.05，n = 16 t = -1.497 > t - 2α (n-1) = -1.753 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 analysis of the relationships among Geng, Geng, and Qing reveals that Geng is used independently 66 times, with its component rhyming with the Geng component five times—a higher disassociation index compared to convergence Qing appears independently 65 times and rhymes with Geng a total of 136 times, indicating a complete consolidation between Geng and Qing based on the disassociation and association metrics Additionally, the Geng and Qing components share six rhymes and are interconnected, highlighting their close relationship within the structure.
《广韵》庚耕清同用，表明庚耕清同用无疑。
庚青 庚与青的t分布假设检验
清青 清与青的t分布假设检验
Kết quả kiểm định phân phối t cho thấy rằng không thể kết hợp nhóm "青" với "庚" hoặc "清" do giá trị t so sánh lớn hơn giới hạn quy định (t = -5.958 < -1.753) Điều này cho thấy "青" và "庚", "清" là những nhóm riêng biệt và không thể gộp chúng lại thành một nhóm duy nhất Phân tích này đã dẫn đến kết luận rằng các nhóm "庚" và "青" cần được phân loại thành hai nhóm riêng biệt để phản ánh chính xác dữ liệu.
According to Table 15, the rhyming separation indices for the Zheng and Deng sections meet the criteria for merging The rhyming patterns indicate that nine rhyming groups are common to both sections, with Zheng exclusively using one rhyme and Deng using twenty-one In the "Guangyun," Zheng and Deng are considered to share the same pronunciation Zhu Xiaonong's "An Investigation of the Rhythmic Patterns in Northern Song Central Plains" confirms that Zheng and Deng are interrelated, sharing similarities especially with the Geng (γ) rhyme group, and are not compatible with other rhymes Additionally, ancient Vietnamese Chinese poetry reflects that Zheng and Deng still share modern pronunciation, leading to the conclusion that they belong to the same phonetic grouping.
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, Qin Duyā has six instances of independent rhyme, while Xián has none The rhyme schema reveals one instance of combined rhyme between Qin and Xián, but not as a standalone rhyme—rather, it merges with Qin and Tán rhymes The phonetic proximity index of Qin and Xián's rhymes reaches the threshold for considered synonymy in poetic harmony, indicating a significant pattern of combined or shared rhymes within the analyzed corpus.
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 số lần liên quan của các yếu tố屋沃、屋觉、陌昔、职德 rất ít, phép kiểm tra giả thuyết phân phối t không thể thực hiện chính xác Chỉ số hợp nhất韵离合 dao động lớn, vì vậy mối quan hệ giữa các yếu tố này vẫn chưa được xác định rõ ràng.
In our study of ancient Vietnamese Chinese poetry, the characters for "house" and "candle" rhyme together in four instances, demonstrating a consistent phonetic connection The analysis shows that the rhyme compatibility index between "屋" (house) and "烛" (candle) meets the criteria for merging, indicating deliberate stylistic or thematic association in the poetic compositions This correlation highlights the poetic and linguistic coherence in the use of these characters within the classical Vietnamese Chinese poetic tradition.
In the Guangyun, "Wo" and "Zhu" are used interchangeably, with no independent rhyming for "Wo" and one instance of shared rhyme between "Wo" and "Zhu." The rhyme's separation index confirms their consistency, and since "Wo" and "Zhu" rhyme with "Wu" and "Jue," which have already been merged, it follows that "Wo" and "Zhu" should also be considered as similar rhymes, reflecting their close phonetic relationship.
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 index meets the standard criteria, indicating its validity Additionally, the elements of "house" and "candle" are in harmony, suggesting a thematic connection Since the "house" and "candle" have already been merged, it is logical for "沃觉" to also be combined to maintain coherence and consistency within the context.
Analysis of Table 17 reveals that Moyun has no independent rhymes while Zhiyun appears five times as an independent rhyme There are two instances where Mo and Zhi rhymes share final sounds In ancient Vietnamese Chinese poetry, a rhyme segment features Mo and Zhi rhymes appearing separately, as seen in the poem "Unaware of the Girl Turning White," where the rhyme words are "white" (Mo, opening second tone), "recognize" (Zhi, opening third tone), and "forehead" (Mo, opening second tone) According to Guangyun, Mo and Mai are used interchangeably, and in Middle Yuan phonetics, Mo rhymes are categorized under Jiewei, while Zhi rhymes with open third tone are grouped under Qiwei Despite these classifications, the rhyme proximity index indicates that they are more similar than different, likely influenced by Vietnamese Sino-Vietnamese pronunciation, highlighting the impact of regional phonetic variations on rhyme analysis.
According to Table 17, Xi Zipao occurs four times, and Xi Zijia appears once, with a total of six instances where Xi and Si rhyme The rhyme chart indicates that Xi and Si rhyme in three different sections, one of which overlaps with mo rhymes, while the remaining two sections are exclusively Xi and Si rhymes These two separate rhyme sections have now been merged, reflecting the consolidation of Xi and Si rhymes in the analysis.
Trong sách 《广韵》, thuật ngữ "职德" được sử dụng đồng thời Dữ liệu từ bảng 17 cho thấy có 5 lần "职德" cùng chứa âm cuối, mặc dù phép kiểm định phân phối t không thể tính toán chính xác do hạn chế dữ liệu, nhưng từ quan sát trên hệ thống vần, các lần trùng âm cuối của "职德" đều nằm trong cùng một đoạn vần Điều này cho thấy hiện tượng này không phải là ngẫu nhiên, phản ánh một đặc điểm rõ ràng trong cấu trúc vần của ngữ cổ Trung Quốc.
本辙分为“屋”、“德”二部。
表 18 月末屑薛
Trong bài viết này, chúng tôi đề cập đến bảng số liệu cho thấy rằng chỉ có một lần cuối cùng của âm vị "薛" được giữ vần, và nó không phải là hành vi giữ vần đơn lẻ Ngoài ra, việc kiểm định giả thuyết theo phân phối t không thể thực hiện một cách chính xác do dữ liệu không đáp ứng các điều kiện cần thiết, điều này làm cho mối quan hệ giữa các yếu tố chưa thể kết luận rõ ràng.
Table 18 indicates that Yueyun has no independent rhyme, and Moyun also lacks independent rhyme, suggesting these two rhymes are not autonomous The absence of standalone rhymes at the end of the line, with only one rhyme segment matching Xuehe, implies a close connection but not complete independence Although the cohesion index aligns with standard merging criteria, its reliability remains questionable, highlighting the complex relationship between these rhymes.
Analysis of Table 18 indicates that Yueyun and Xieyun do not have independent rhymes, suggesting they are interconnected rather than separate The absence of independent rhyme in Yuexieyun implies that one rhyme segment is shared with Xueyun, illustrating their close relationship The coherence between these two rhymes aligns with standard criteria, reflecting their interdependent nature within the Chinese poetic tradition.
Although the rhyme joint index experiences significant fluctuations, making its reliability somewhat uncertain, we temporarily classify them as a single rhyme.
Based on Table 18, Yueyun shows no self-rhymes, while Xuexiang rhymes seven times across two rhyme sections, with one section rhyming with Xie The separating and connecting index of Yue and Xue is within standard criteria, with Yuexue’s index being 101, indicating they are considered a merged unit.
《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 article discusses the analysis of cohesion indices within a specific tonal segment, highlighting that over seven repetitions, the cohesion levels meet standard criteria Additionally, it notes that two sections have already been merged, emphasizing improvements in structural coherence.
It is well known that the Yue end rime group, including Xueshu and Yue, were traditionally treated separately according to the "Guangyun" classification In Middle Mandarin phonology, the Yanshe first-tone entering tone rhymes with dental and lip sounds, classified under Gegu, while the second-tone entering rhymes are associated with Jia and Ma categories, and the third and fourth-tone entering rhymes are grouped under Che and Zhe The Yue Xueshu rhyme logically belongs to a single rhyme, yet the merging of the final rhymes remains difficult to explain Analyzing these examples through Vietnamese Chinese character pronunciations provides further insights into the rhyme classifications.
Chen Quan's "Yunxiao An" describes a peaceful scene with the title "Ye," evoking tranquil moments amid snow and winter serenity Fan Yu's "Night Scene by the River" highlights the quiet beauty of snow and the calmness of the night, emphasizing the stillness of the moonlit landscape during winter evenings These poems beautifully capture the essence of winter's quietude and the harmony of natural surroundings.
小结
This article analyzes 1,029 ancient Vietnamese Chinese poems based on their rhyme patterns, categorizing them into 19 rhyme schemes Further, these are broken down into 34 rhyme groups, including 11 yin-tone groups such as Zhi, Wei, Qi, Yu, Yu, Hou, and others This comprehensive study provides insights into the tonal and phonetic structures used in Vietnamese classical poetry, highlighting the richness of its poetic tradition and the influence of Chinese phonology on Vietnamese literary heritage.
The article discusses various classifications of Chinese phonetic categories, including the Bu, Xiao, Hao, Ge, Ma, and other groups, highlighting their roles in Chinese pronunciation It also details the 17 Yangsheng (Yang sounds) divisions, such as Dong, Zhong, Jiang, Zhen, Wen, Hun, Hen, Yuan, Xian, Han, Huan, Yang, Geng, Qing, Zheng, and Qin, which are crucial for understanding tonal variations and pronunciation patterns Additionally, the article describes the six Ruosheng (entering tone) divisions, including Wu, De, Mo, Xie, Zhi, and Duo, emphasizing their significance in Chinese phonology and historical pronunciation distinctions Proper understanding of these phonetic divisions is vital for linguists, language learners, and anyone interested in Chinese phonetics and historical linguistics.
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
According to "Northern Song Central Plain Rhyme Studies," there are two main approaches in rhyming dictionaries: one represented by "Guangyun," known as the "separate classification" school, and the other by "Zhongyuan Yinyun," known as the "unified classification" school Through analyzing ancient Vietnamese Chinese poetry, we find that poets primarily used rhymes aligned with the "unified classification" approach However, the process of identifying whether rhymes are combined or separated shows that rhyme mergers were not strictly dictated by Chinese rhyme books To better understand the Vietnamese Chinese poetic rhyme system, it is helpful to compare it with "Pingshui Yun" and examine Vietnamese Han-Yue pronunciation differences.
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
Ancient Chinese rhyme books, or "yunshu," were specialized dictionaries organized by rhyme schemes to facilitate poetic composition These rhyme books, including the popular "Tang Yun," were essential tools for poets, particularly in Vietnam, where ancient poets likely composed their works based on Chinese rhyme systems derived from "Tang Yun" and other rhyme books "Tang Yun" is a revised version of the Sui Dynasty's "Qie Yun" by Lu Fayan, although both texts are not entirely complete This article analyzes how classical Chinese poetry primarily used "Guang Yun" for rhyme and how the classification of rhymes aligns with the 206 rhyme categories listed in "Guang Yun," ensuring a systematic approach to understanding ancient Chinese poetic phonology.
An analysis of ancient Vietnamese Chinese poetic rhyme systems reveals that, although some rhyme groups align with the Guangyun, there are still instances of partial merging, which differ from the Zhongyuan Yinyun system Comparing Vietnam’s ancient Chinese poetry rhyme system with the Chinese phonetic rhyme compilation Ping Shui Yun highlights these similarities and differences A detailed comparison list presents the rhyme schemes and categories of Vietnam’s ancient Chinese poetry alongside those of Ping Shui Yun, illustrating the nuances in their phonetic structures.
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 ancient Vietnamese Chinese poetry is organized into 14 sections, which have been compacted into 11 parts for easier study These parts are known as the Zhi, Wei, Qi, Yu, Yu, Hou, Jie, Xiao, Hao, Ge, and Ma sections This classification reflects the traditional rhyme patterns used in Vietnamese classical poetry, highlighting the rich literary heritage of Vietnam's historical adoption of Chinese literary forms.
In classical Chinese poetry, the Yinsheng rhyme scheme, based on the "平水韵" (Ping Shui Rhymes), is divided into sixteen categories: East, Winter, River, True, Culture, Origin, Cold, Removal, First, Yang, Geng, Green, Steam, Invasion, Tan, and Xian Historically, Vietnamese ancient Chinese poetry combined or separated these rhyme groups into seventeen parts This article refers to one of these groups as the "Dong" group, highlighting the variations in rhyme categorization between Chinese and Vietnamese poetic traditions.
Vietnamese ancient Chinese poetry combines and simplifies the original 10 rhyme groups from the "Pingshui Yun" system—namely屋,沃,觉,曷,质,月,屑,陌,锡,职,铎—reducing them to six groups: 屋, 德, 质, 末, 屑, and 铎 Overall, Vietnamese ancient Chinese poetry uses fewer rhyme groups than the "Pingshui Yun," blending Chinese poetic rhyming rules with other influencing factors This results in a rhyme pattern that does not strictly follow the original Chinese system but reflects a unique adaptation in Vietnamese poetic tradition.
越南古代汉诗韵系跟《平水韵》的不同之处
Ancient Vietnamese poets lived during a period comparable to China's Song Dynasty through early Ming Dynasty, with their poetic works spanning several centuries This long timeframe means that the rhymes and tonal patterns in their poetry may reflect evolving stylistic features across different eras Notably, during the Southern Song Dynasty, the development of the "Pingshui Yun" system simplified and consolidated the 206 rhymes from the "Guangyun," forming a phonetic system that remains influential to this day.
Vietnamese classical Chinese poetry’s rhyme system shares similarities with the "Pingshui Yun," yet notable differences exist These distinctions can be categorized into three groups: yin rhyme, yang rhyme, and entering tone rhyme Understanding these differences highlights the unique characteristics of Vietnam’s ancient Chinese poetic tradition compared to traditional Chinese rhyming schemes.
Vietnamese ancient Chinese poetry rhyme system includes branches such as Zhi, Wei, and Qi, but differs from the Ping Shui Yun Unlike the Ping Shui Yun, these three rhyme groups in Vietnamese poetry share the same rhyme pattern, allowing for mutual rhyming This distinctive feature makes the Zhi, Wei, and Qi rhyme groups in Vietnamese poetry different from their counterparts in the Ping Shui Yun 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 Houbu's ability to connect phrases demonstrates a distinctive feature of ancient Vietnamese Chinese poetry—their unique rhyming patterns This characteristic will be explored in more detail in the upcoming chapter.
《平水韵》的佳部和灰部在越南古代汉诗合并成皆部。据《中原音韵》皆来部 包括蟹摄二等和开口一等，即佳韵、皆韵、灰韵、咍韵。越南古代汉诗皆部的合并 比较接近于元代的《中原音韵》。因为根据所用皆部相押的诗文的著作时间大概 相当于中国的元代，难免用韵时带有当时的语音特点。除此之外，皆部的合并 可能是受越南汉字音所影响，后详。
越南古汉诗用韵系的豪部，来自《广韵》肴韵和豪韵的合并。肴豪在《广韵》 和《平水韵》中都是独立的，从《中原音韵》来看，效摄所有的韵目合并成萧豪部 越南古代汉诗的用韵肴韵、豪韵合并成豪部，萧韵和宵韵合并成萧部，但是豪 部与萧部之间关系是独立的。肴韵与豪韵合并这个特点既跟《平水韵》的合并规 律有所不同也与《中原音韵》合并规律相异，这可能是受越南汉字音的语音特点 影响。
The Song and Ma rhymes in the "Equal Sound Rhyming" system are two separate rhyme groups that do not rhyme with each other In ancient Vietnamese Chinese poetry, the Song and Ma rhyme groups were distinctly categorized, with some instances of cross-rhyming between them This rhyming pattern in ancient Vietnamese poetry differs from the rules outlined in "Ping Shui Yun," which emphasizes the independence of these two rhyme groups and prohibits cross-rhyming between them.
In ancient Vietnamese Chinese poetry, the Dongdong rhyme group was merged into a single rhyme category, yet it remained separate in the "Pingshui Rhyme" system According to "Zhongyuan Yinyun," all rhyme categories are classified under the East Bell tone, but from the perspective of Vietnam's ancient Chinese poetry rhyme system, Dongdong is uniquely merged while the Zhou tone remains independent Additionally, in the Dongjiang rhyme group, there is a notable difference from the "Pingshui Rhymes"—namely, that the Dong rhyme pairs with the Jiang rhyme, a relationship that can still be explained through the Vietnamese phonetic system of Chinese characters Further details will be elaborated later.
The evolution of the Zhenwen rhyme group is complex due to the numerous rhyme categories and the layered nature of rhyme matching and combination While "Pingshui Yun" categorizes Zhen, Wen, and Yuan as three separate rhyme groups, ancient Vietnamese Chinese poetry reveals that Zhenwen can be divided into five rhymes: Zhen, Wen, Hun, Hen, and Yuan, all of which rhyme with each other—this significantly differs from the "Pingshui Yun" system Vietnamese poets did not adhere to the "Pingshui Yun" rule that Zhen, Wen, and Yuan should not rhyme together, and the reasons for this will be analyzed further in subsequent sections Additionally, the rhyming of the Yuan rhyme group is also an important subject worth discussion.
In the "Pingshui Yun," Yuan is an independent rhyme group formed by merging the rhyme groups of Yuan, Hun, and Hen from the "Guangyun." However, in the context of ancient Vietnamese Chinese poetry, the use of rhymes significantly differs from "Pingshui Yun," as Yuan, Hun, and Hen belong to separate rhyme groups According to the rules of "Pingshui Yun," Yuan should not rhyme with Xian, but in Vietnamese classical poetry, Yuan functions as a relatively independent rhyme group that can rhyme with Xian and Xian, yet it is not merged with these groups.
The Cold Tone (寒韵) in the "Pingshui Rhymes" has traditionally been combined with the Hua Tone (桓韵) to form the Han Section (寒部) However, recent research indicates that the Han Section should be considered a standalone category, highlighting its independence within Chinese poetic rhyming patterns.
The article discusses the classification of Chinese characters, noting that Han and Shan are combined into one group, while Han He is categorized separately According to the *Zhongyuan Yinyun*, Han He is distinct from Shan and Shan, which are classified under the Han Shan Bu Additionally, Huan is further categorized under the Huan Huan Bu, highlighting the detailed organization of these phonetic groups for better linguistic understanding.
Vietnamese ancient Chinese poetry features the Geng and Qing rhyme groups, which differ from the Ping Shui Yun system but are essentially part of the same rhyme category According to Ping Shui Yun's tonal rules, these two rhyme groups are typically not interchangeable for rhyming purposes However, in Vietnamese poetry, there are numerous instances where these groups are used interchangeably, demonstrating a unique poetic practice that deviates from the traditional Chinese rules.
In ancient Vietnamese Han poetry, the Qin rhyme group corresponds to a combination of the Ping Shui Yun Qin and Xian groups in Chinese phonetic systems Besides, in the Zhongyuan phonetic system, the labial sounds of Fan rhymes and the Qin and Tan Xian rhymes from Guang Yun are classified under the Jian Xian group From a historical perspective, poetry that features Qin and Xian rhymes predates the Yuan Dynasty in China This suggests that analyzing these rhyming patterns through the lens of Vietnamese Sino-Vietnamese pronunciation offers valuable insights into their distinctive phonetic characteristics.
《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 "Zhongyuan Phonetics" categorizes sounds into the Fish Mold, You Hou, and Xiao Hao groups Although the total number of entering tone rhymes is relatively small, the emergence of the ancient Vietnamese Chinese poetry rhyme patterns was likely influenced by the phonetic characteristics of the Vietnamese language at the time.
小结
Compared to the "Pingshui Yun," Vietnamese Han poetry tends to combine more rhymes overall, although some rhymes from "Pingshui Yun" are used separately, such as "Winter" and "Bell" or "Soul," "Trace," and "Origin." Additionally, many rhymes that are divided in "Pingshui Yun" are merged in Vietnamese Han poetry, including "Branch," "Micro," "Qi," "Fish," "Yu," "You," "Excellent," "Ash," "Yard," and "Grand," as well as "Song," "Winter," and "River," "True," "Literature," and "Origin." Rhymes like "Cold" and "Erase," "Tan" and "Xian," "House" and "Wô," "Awake," and "Resonance," "Alley," "Tin," and "Job," as well as "Moon" and "Fragment" are also combined, illustrating the broader merging of rhymes in Vietnamese Han poetry compared to the traditional "Pingshui Yun."