南朝永明体的产生与佛经转读之关系考察  

On the Emergence of the Poems of Yong-Ming Style with Respect to the Sutra Chanting in the 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：《江西财经大学学报》2009年第3期80-83,共4页Journal of Jiangxi University of Finance and Economics

基　　金：国家社科基金青年项目"唐赋研究"(08CW2022)

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 gave birth to the Four-Tunes of the Chinese language, which refutes the view of borrowing them from India. Before Shen Yue found the Four-Tunes in the South dynasty, the well-rounded Chinese speech system had come into being in China. Therein, Zhou Yong, Wang Rong, Shen Yue, and some others had found and summarized the Four-Tunes and the Eight-Principles, and thereafter came the poems of Yong-Ming Style. In the Wei, Jin, Southern and Northern dynasties when sutras were introduced into china, the tunes of Sanskrit did not come in hand in hand in a large-scale. Quite few people mastered them because of their great differences from those of Chinese so that the tunes of Sanskrit failed to engender the Chinese Four-Tunes. The sutra chanting and the emergence of the poems of Yong-Ming Style never ran into 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：I207.209[文学—中国文学]