谭樊马克

（男，2017级博士，专业：汉语言文字学，研究方向：训诂学，汉语历史词汇学，导师：孟蓬生）

　　摘 要

　　研究韻書出現以前的漢語語音，通常使用押韻、諧聲、假借、異文四種材料。而目前還沒有發現斷代明確爲商代的韻文，因此只能從其他材料入手。筆者從以甲骨文爲代表的商代漢字材料入手，以諧聲研究爲主要手段，輔以假借材料和異文材料探討商代音系有別於周秦音系的特點。

　　工作的第一步是整合各類著錄書，對漢字字形作窮盡式收集整合。對於偏旁的異寫歸納，以商代漢字材料反映出的內證爲主，整合出不重複的漢字字頭。第二步是結合後世字書、傳世文獻、出土文獻等參考資料分析漢字的形音義。對於一些漢字具體是和後代漢字構成同形字而意義無關，還是意義相關可以和後世漢字認定爲同一個字，就放回辭例的環境檢驗，避免主觀臆斷。第三步是編製《商代諧聲字譜》，突出諧聲系列和諧聲層級。第四步是諧聲現象分析。

　　本文略去了主諧字和被諧字在同一韻部的諧聲分析，因爲這方面的工作有許多的學者做過，也反映不了商代音系和周秦音系的區別。對於反映這些區別，我們分了兩類例子分別針對討論。第一類是《商代諧聲字譜》所反映的陰陽入三聲通轉例子，這些例子可以顯示商代的陰陽入三聲配位是否與周秦相同。第二類是《商代諧聲字譜》所反映的跨韻部諧聲例子，這些例子是本文所佔篇幅最大的部分。曾經被視作“不規則諧聲”的語言現象往往值得重視，從商代漢字諧聲所反映出的語言事實出發，給出這些現象的合理解釋。如我們推測有閉口韻字的因素，商代音系相較周秦音系會有更多的漢字顯示出和閉口韻字的相通，而有些字的歸部需要重新討論。這兩類例子反映出和周秦音系的顯著不同便是，商代音系還沒有形成穩定的對應周秦音系的蒸部字，也同樣沒有戰國末期才形成的冬部字，但這些被劃入冬部的字顯示出和東部的緊密聯繫，而未必和幽部、覺部形成配位，這對孔廣森分東冬以前各家將這兩部相混的現象構成驗證。史存直所探討的不分之幽、脂微、真文、東冬等韻部，是從商代以後的押韻、諧聲、通假、異文等材料總結出的，而商代的一些語言現象證明這樣的假說有其合理性。

　　本文使用了二重證據法、平行互證法、歷史比較法，回答了辨認是單字還是合文、同一部件異寫需要歸併、不同部件需要避免錯誤認同、形旁和聲旁如何判定、字詞關係如何梳理、同形字如何識別六大疑難問題，最後得出結論是商代音系不同於一些學者所認爲的陰陽入三聲呈現混淆趨勢，而是各自有別僅存在一定條件的通轉。不同韻尾的入聲字之間相通也是存在條件，而不是三聲自由相通。

　　關鍵詞：商代，漢字，諧聲，商代音系，前上古音。

　　Abstract

　　To study the Chinese phonetics before the appearance of rhyme books, four kinds of materials are usually used: rhyme, harmonic sound, guise, and variant text. However, there is no rhyme that is clearly identified as the Shang Dynasty, so we can only start from other materials. The author starts with the Shang Dynasty Chinese character materials represented by oracle bone inscriptions, takes the study of harmonics as the main method, supplemented by borrowed materials and other text materials to explore the characteristics of the Shang Dynasty phonetic system that is different from the Zhou and Qin phonetic systems.

　　The first step of the work is to integrate all kinds of bibliographic books, and make an exhaustive collection and integration of Chinese characters. For the induction of the different writing of the radicals, the internal evidence reflected in the Chinese character materials of the Shang Dynasty is mainly used, and the non-repetitive Chinese character prefixes are integrated. The second step is to analyze the shape, sound and meaning of Chinese characters in combination with reference materials such as later generations of Chinese characters, handed down documents, and unearthed documents. As for whether some Chinese characters and later generations of Chinese characters form the same shape and have nothing to do with their meanings, or if they are related in meaning and can be identified as the same character as later generations of Chinese characters, they are put back to the environmental test of the example of speech to avoid subjective assumptions. The third step is to compile the "Shang Dynasty Harmonic Character Score", highlighting the harmonic series and harmonic levels. The fourth step is the analysis of the harmonic phenomenon.

　　This paper omits the harmonic analysis of the main harmonic character and the subharmonic character in the same rhyme, because many scholars have done this work, and it does not reflect the difference between the Shang Dynasty phonology and the Zhou-Qin phonology. To reflect these differences, we divide into two types of cases for discussion. The first category is the cases of yin and yang entering the three tones reflected in the "Shang Dynasty Harmonic Character Spectrum". These cases can show whether the coordination of yin and yang entering the three tones in the Shang Dynasty is the same as that of Zhou and Qin. The second category is the cross-rhyme harmonic cases reflected in the "Shang Dynasty Harmonic Character Spectrum", which are the largest part of this paper. Linguistic phenomena that were once regarded as "irregular harmonics" are often worthy of attention. Based on the linguistic facts reflected by the harmonics of Chinese characters in the Shang Dynasty, reasonable explanations for these phenomena are given. If we speculate that there is a factor of closed-mouth rhyming characters, the Shang Dynasty phonetic system will have more Chinese characters that show the same connection with the closed-mouth rhyming characters than the Zhou-Qin phonetic system, and the return of some characters needs to be re-discussed. These two types of cases reflect the significant difference from the Zhou-Qin phonetic system. The Shang Dynasty phonetic system has not yet formed a stable corresponding to the Zhou-Qin phonetic system. These two types of cases reflect the significant difference from the Zhou-Qin phonology system. The Shang Dynasty phonology system has not yet formed a stable "Zheng" (蒸) rhyme corresponding to the Zhou-Qin phonology system, nor has the "Dong" (冬) rhyme formed at the end of the Warring States period, but these The characters classified into the "Dong" (冬) rhyme show a close connection with the "Dong" (東) rhyme, and do not necessarily form a coordination with the "You" (幽) rhyme and "Jue" (覺) rhyme. The phenomenon of mixing the two parts constitutes a verification. Shi Cunzhi summed up rhymes such as"Zhi" (之) and "You" (幽), "Zhi" (脂) and "Wei" (微), "Zhen" (真) and "Wen" (文), "Dong" (東) and "Dong" (冬) from materials such as rhyme, harmonic sound, guise, and variant text after the Shang Dynasty., and some language phenomena in the Shang Dynasty prove that such a hypothesis is reasonable.

　　This paper uses the double evidence method, the parallel and mutual proof method, and the historical comparison method to answer the question of whether the identification is a single word or a combined text, the different spellings of the same part need to be merged, different parts need to avoid misidentification, how to determine the paraphrase and the voice, and the words How to sort out the relationship, how to identify the same-shaped characters, and finally come to the conclusion that the phonology of the Shang Dynasty is different from the yin and yang into the three tones that some scholars think that there is a tendency of confusion, but each is different only with certain conditions. There is also a condition for the communication between the incoming sound characters of different rhyme endings, not the free communication of the three tones.

　　Keywords: Shang Dynasty, Chinese Characters, Homophony, Shang Dynasty phonetic system, Pre-Old Chinese.