许浑诗不符功令的出韵现象达 37 处,大致可分为两类:同摄不同韵相押以及跨摄通押.究其原因,在于中古时期的通语音变现象以及受到晚唐时期西南、江浙等地方言的影响.《江上燕别》应出自诗人赵嘏之笔,不宜归入许浑名下.《金谷怀古》与杜牧诗重出互见,末两句应作"徒想夜泉流客恨,夜泉流恨恨无穷."《哭杨攀处士》最末韵脚字作"邻"为宜.

中晚唐诗歌具备先导性和保守性相统一的用韵特征,反映了唐五代时期的实际语言面貌.中唐时期的皎然、晚唐时期的许浑和五代时期的贯休都是吴语方言区的诗人,他们诗韵的异同印证了中晚唐时期止摄、遇摄、流摄、宕摄、梗摄,以及"涯"字和麻韵沿着之前的合流轨迹进一步趋同等语言事实.中晚唐时期,删、山、先韵逐渐靠拢,咸、摄、覃、谈、盐、添、咸、衔、严、凡、韵合流等语言现象已经萌芽.五代时期,止摄和蟹摄齐韵混同,效摄四韵渐趋不分,臻摄合流趋势日益明显.

An intensive selective trend of phonological distribution in the modal particle system is found to be present during the Zhou and Qin dynasties: 1) Lateral and nasal initials are dominant in number and totally unaspirated regarding the manners of articulation; 2) Alveolars are dominant in number regarding the places of articulation; 3) The properties of vowels are concentrated around the yu division and zhi division. The mechanism leading to the aforementioned concentration of phonological distribution has basically resulted from these factors: the principle of least effort, the articulatory characteristics of the lower tongue tip position of the finals and the higher sonority conforming to the pragmatic functions of the modal particles. The Warring States period is a period during which the modal particle became full-fledged elements. The occurrence frequency of some modal particles, however, had declined rather than increased after this period. The impetus of the above trend lies in the evolution of the Chinese phonology. The monophthongs of modal particles in the zhi division in Zhou and Qin dynasties began to change to diphthongs in the early Han dynasty. The yu division in Zhou and Qin dynasties used to take a higher vowel in Han dynasty and the ge division in Zhou and Qin dynastic used to take a rear vowel in Han dynasty, which respectively has led to the decline of usage of the words ye, hu and zai in spoken Chinese.

The study of Zuo Zhuan in the Ming Dynasty broke the traditional Confucian model with the diversification of inter-disciplinary research. Among them was the literary perspective, which helped form the academic atmosphere of“interpreting the classics with articles”. Ancient prose selected from Zuo Zhuan was the most typical reflection of this academic trend. There may be four types of these anthology which amounted to more than forty books, divided into universal education, distinction of literary form, pure literature and language appropriate to the occasion. Different categories reflected different understandings of the au-thors on the book’s ancient prose characters. A deep research of them will contribute to the investigation of the scientific princi-ples of the literary interpretation and then deepening the study of Zuo Zhuan in the Ming Dynasty.

The study of Zuozhuan in the Ming Dynasty moved beyond the traditional Confucian model with the diver-sification of interdisciplinary researches,one of which is the literary perspective on Zuozhuan.The Ming Dynasty in-herited the previous generation's academic ethos by compiling more than 40 kinds of ancient anthologies, and viewed Zuozhuan as an ancient Chinese writing,which started a new academic perspective of Zuozhuan.The combi-nation of selection and evaluation is the most reflective of the basic features and theoretical connotations about the lit-erary interpretation of Zuozhuan in the Ming Dynasty.The main representation is on writing and grammar explana-tion,narrative techniques and literary analysis,which has a certain significance and reference in the field of under-standing the study of Zuozhuan in the Ming Dynasty and establishing the literary attribute of Zuozhuan in the literary history.

The "si"(思) word level tone metrical poems to be read, to see Li Shang-yin forty times, their pronunciation can be divided into three categories: First, read as oblique tones, this phenomenon in the Delta Chi eleven; Second, both ze and ping, both in the non-audio nodes, up to twelve; Third, read the level tone, in line with recent poetry requirements Gongling more common. Context with rhyme and metrical poetry from the point of view, the main cause speculation "si" (思)in the word Pingze(平仄) in different reading because in order to meet the rules of metrical poetry with rhyme and expression meaning "si" (似)word.

中晚明时期是我国古典诗画关系发展较为突出的历史阶段之一.对中晚明诗画关系的研究现状进行考察与反思,是学界进行深入拓展的必要环节.新世纪以来,国内学者有关此方面的专题型考察,根据研究目的可划分为“因画及诗”“因诗及画”“诗画同论”三类.每一类均有不同学者在不同程度上的关注与探讨,展现了新时期国内学者对中晚明诗画关系研究的基本形态.其中折射出的学术效应及研究展望,主要在于:断代研究整体滞后,有待于更多学人的广泛参与;诗画关系研究需具备打破学科局限的“跨学科”意识;研究对象过于集中,存在较大可开拓空间;创作与理论需相结合.

There are more than five hundred metrical poetries written by Xu Hun, including two sentence fragments.It is common to see the poetries with entering-rhyme first, which is the inflection of real phonetic in late-Tang dynasty and can be divided into three parts: first of all, the poetry rhyme words and the first rhyme words are adjacent or of the same use in GuangYun(广韵), which conforms to the rhyme rules;then the poetry rhyme words and the first rhyme words are adjacent in Ping Shui Yun(平水韵),which does not conform to the rhyme rules and is called "Gu Yan Chu Qun" that can be divided into 5 categories with 15 poetries.The last one is the special entering-rhyme first phenomenon, that neither conforms to the rhyme rules in Guang Yun(广韵)and the Ping Shui Yun(平水韵) nor to the borrowed rhymes.However the first entering-rhyme is level tone, which is similar to or the same as the other poetry rhyme words and can be divided into 3catogories with 4 poetries.So Xu Hun′s metrical poetry rhyme is the representative of rhyme system during the medieval times.

避讳是中国历史上特有的文化现象，钱大昕所著《十驾斋养新录》中有不少关于避讳的条目，这些避讳材料蕴含着丰富的语言学研究价值，对于研究汉语语音的演变、同义词辨析以及文献校勘等学科具有重要的材料参考价值。

许浑诗集《丁卯集》现存诗歌542首,皆格律诗,存在两首残句.系联其诗韵得出16摄27韵,其中阳声韵15个,阴声韵12个,总体上符合《广韵》“同用”“独用”规则.许浑诗歌韵例可归纳为绝句、七五律和排句三大类,再根据首句是否入韵细分为12小类.此外,许诗未入韵句的尾字与韵脚字之间往往四声相承,此类现象多达二十处.另有14个韵脚字的读音由于古今语音演变而难以断定,在《广韵》中的读音与其现代汉语普通话的读音不相同,需依据其意义来确定.