上海博物館藏楚竹書(參) 『周易·訟卦』新釋
The New Interpretation of I-Ching Song Gua of Shanghai Museum Bamboo Slips(3)
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『周易』為先秦時期占卜用書，至儒學思想發展時期被逐一注釋。由於近年馬王堆及阜陽西漢時期帛書、竹簡 陸續被發現，加上1994年上海博物館藏戰國時期楚地竹簡中所含『周易』，學界出現各種與『周易』相關研究成 果。本稿中，我們嘗試以漢語音韻學的研究角度出發，結合歷史語言學相關理論，對『周易·訟卦』提出新的解 釋。通過這樣研究，可知以下幾個點： 1. 我們對“惕” *l̥eka與“啇” *teka聲字“ ”異文出現原因的解釋與野原將揮不同。我們認爲上古音清流音（liquid） *l̥-至少至戰國時期開始逐漸變爲中古音音值tʰ-。 2. 本卦初六爻之“不出御事” *pɨʔb.kʰʲut(s)b.ŋasb.dzrɨsb中出現“御” *ŋasb及今本“所” *sŋraʔb之對應表明本句 之“出”實為致使用法的*kʰʲutsb>tʰjwiʾ。 3. 我們發現本卦九二爻“ ” *sreŋʔb體現出兩種特徵。1）上博『周易』書寫者對詞素*sreŋʔb具“宗教的”觀念, 因此“眚”字中增加與祭祀有關部首“示”。2）與上博“ ”對應馬帛“省”*seŋʔb，除了音值相似性外，還有中 綴*-r-之有無差別的引申關係。 4. 從音韻學角度看九四爻中出現今本“渝”、馬帛“俞” *lob與上博“愈” *loʔb之異文原因在於其後音節“安” *qana~ ʔana之聲母給予前音節的影響。 5. 今本“鞶帶”對應上博“”字形上均从“糸” *meka。該現象則説明上博楚簡書寫者認爲“帶”與“綫”有關。
Abstract
I-Ching originated as a book about the divination. Later, further annotations were added following the development of the Confucian philosophy. Recently, I-Ching texts were found among the excavated silk scripts and bamboo slips of Western Han era from Mawangtui and Fuyang, and Shanghai Museum bamboo slips of Chu (the Warring State). This discovery contributed to many new works on I-Ching. This study basically suggests new interpretations of I-Ching Song Gua of Shanghai Museum bamboo slips based on historical linguistics, especially the historical phonology of Chinese languages. The new facts found by this study are listed below. First, I don’t agree with Nohara (2009) about the reason of variant writing of “惕” *l̥eka and “啇” *teka. This variation shows that the voiceless liquid of Old Chinese *l̥- had been already changed into a plosive which resembles Middle Chinese tʰ- by the Warring States era. Second, in 本卦初六爻, there is a clause “不出御事” *pɨʔb.kʰʲut(s)b.ŋasb.dzrɨsb. In this clause, “御” *ŋasb corresponds to “所” *sŋraʔb in the current version of the text. This correspondence shows that the former syllable, “出”, is actually a causative verb *kʰʲutsb>tʰjwiʾ. Third, in 本卦九二爻, the character *sreŋʔb shows two characteristics. One is that the scriber of Shanghai Museum bamboo slips had a ‘religious’ perception about this semantic unit, so he added the semantic component ‘示’ (indicates relatedness to the rituals) to this character. The other one is that the character ‘省’*seŋʔb written in Mawangtui silk scripts is not only similar in the phonetic value with the corresponding character “” written in Shanghai Museum bamboo slips, but may be also in a relationship of derivation by an infix. Fourth, when we analyze 本卦九四爻in perspective of historical phonology of Chinese languages, we can see that the writing variants of ‘渝’ in current version, ‘俞’ *lob in Mawangtui silk scripts, and ‘愈’ *loʔb in Shanghai Museum bamboo slips, are because the onset of the following syllable ‘安’ *qana~ʔana somehow affected the preceding syllable. Last, ‘in Shanghai Museum bamboo slips, which corresponds to ‘鞶帶’ of the current version, contains the semantic component of ‘糸’. This may be because the scriber perceived the belt ‘帶’ as something related to the string (‘綫’).
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