论南朝佛经转读与永明体的产生是平行关系  

On the Sutra Chanting and the Emergence about the Poems of Yong-Ming Style in South Dynasty

作　　者：龚贤[1] 

机构地区：[1]江西财经大学艺术与传播学院,江西南昌330013

出　　处：《湖南科技学院学报》2008年第9期23-26,共4页Journal of Hunan University of Science and Engineering

摘　　要：汉语"四声"中国本有,非自印度输入。在南朝沈约等人发现"四声"之前,汉语早已形成了自己成熟的语音系统。周颙、王融、沈约等人从这个语音系统中发现并总结出"四声"、"八病",从而产生了永明体诗歌。魏晋南朝时期,佛经传入中土时梵音并没有随之大规模传入。即使有一部分传入,因为梵汉两种语言的语音适应对方极为困难,故只有极少部分人掌握;亦因为掌握的困难而难以产生重大影响,如导致汉语"四声"产生这样的重大事件。佛经转读与永明体的产生二者之间是平行关系,佛经转读对永明体的产生影响甚微。China had been given birth to the Four-Tunes of Chinese herself, and not came from India. Before Shen-Yue found the Four-Tunes in South dynasty, the well-rounded speech system had come into being in China about her language. Zhou-Yong, Wang-Rong, Shen-Yue, and so on, all of them had found and summarized the Four-Tunes and the Eight-Principles in the system. Therefore, the poems of Yong-Ming Style been written at first time. From Wei dynasty to North-South dynasty, the sutra were introduced into china, but the tunes of Sanskrit was not along with them in a large-scale. Even a slice of the tunes was introduced, for the tunes between Sanskrit and Chinese didn＇t match each other, and almost had no people managed them. So the tunes of Sanskrit didn＇t act the role, and led to the emergence of the Four-Tunes of Chinese, which was the big step about it. The sutra chanting and the emergence about the poems of Yong-Ming Style, was parallel to each other, and the former almost had no effect on the latter.

关 键 词：汉语“四声” 永明体 佛经转读 

分 类 号：H113[语言文字—汉语]