Abstract: The definition and formation of tone turning, and the function and relationship of the "four haves" mode of tone turning. Theoretical value of sound transmission. The focus is my understanding of the "four haves" mode of sound transmission, which I call the "three causes and one effect" law and the longitude and latitude theory.

Keywords: "four have" mode of function word sound

Students majoring in literature and history think that ancient Chinese is a difficult or unreasonable subject. It is often said by the teacher or in the book. Although, many scholars are studying this aspect, especially phonology. However, real achievements are often numbered. In fact, there is a reason for this. First, there was no special phonological data in ancient times, and there was no such good voice storage machine. Generally, it is spread orally, which is also an important reason why phonology is difficult to verify. Secondly, because of the relationship between time and space, many sounds are deviated, or completely different, which makes phonology more extensive and complex, and also quite cumbersome and specific. There is no definite consent law. Of course, there are other reasons, such as artificial emotional color, which will change in sound, resulting in difficulties and irregularities in phonology.

Let me briefly describe the content related to phonology-the "four haves" model of phonology. However, we must first understand the definition of phonology, that is, we must know what phonology is before we can make other understandings.

Generally speaking, words lose their "pronunciation", that is, their correct pronunciation. When people from different regions and times express the same meaning with the same word, their pronunciation may show some variability. This phenomenon with the same meaning but different pronunciation is called tone sandhi.

Phonetic changes are based on the same word and express the same meaning. The so-called homonym is its sound or rhyme. Although it has undergone cyclic variation, it is still a "sound" after all, and its main homonym has not been lost in the variation. Therefore, Huang repeatedly stressed: "Every word has only one sound, so it has only one sound. Although the two sides of the loop are different, the original sound is also this sound. Ji Cheng has no fixed tone in ancient times, and his tongue is uneven; There is a pitch in the predicate, so although it is uneven, it is the original sound. " 1 means to express the same meaning, which means that the sound transition has not led to the differentiation of words, and they still belong to the same word. If they mean the same thing, but the rhyme doesn't matter; Or phonology, although related, represents different meanings, so it can't be considered as a sound transfer, but a problem of synonyms or cognates.

During the Three Kingdoms period, wei ren Zhang Yi first used the word "sound transmission". He said in "On Guang Ya Biao": "If you steal his knowledge, you must learn from others' skills, with the same text and meaning, lost pronunciation and different eight ways ..." The so-called "sound will be lost, and all directions will be different" is the change of the times and regions. Phonetic inversion is the cause of alexia. Missing items refer to the loss of correct pronunciation of words, which was also called orthography or local pronunciation in ancient times. Phonetic turning is a problem of language itself, and it is a common and inevitable phonetic variation phenomenon in regional language and historical language. The formation of dialects is mainly due to phonetic transition. Generally speaking, transliteration is a phenomenon in different places and different times, and should not exist in the same place at the same time. For example, "yǐ ng3" is the turning point of "I" and "Cloud" is the turning point of "Yue". If people in place A call themselves "I" and people in place B call themselves "y m ng", then people in place A will not call themselves "y m ng" and people in place B will call themselves "I" at the same time. Similarly, if people at that time used "Yue" to express their speech and people at this time used "Cloud", then people at that time would not use "Cloud" any more, and people at this time used "Yue" at the same time. China has a vast territory and a long history. Many words originally transliterated in different regions and periods will inevitably blend and receive each other. Especially in literary language, because many words with transliteration are often pronounced as characters, transliteration, an exotic and diachronic phenomenon, is likely to be reflected in the tense of * * * *. Therefore, in the same article and work, both "Yue" and "Yun" are used, and even statements such as "y m ng needs my friends" and "I'm sorry now" appear.

Basically we know what sound transmission is, so let me describe the "four haves" mode of sound transmission.

There is a special chapter in the book "A Study of Chinese Phonetic" written by Mr. Wu Zeshun, and Mr. Wu listed it in the first section of the chapter "Phonetic Principles". In my opinion, the "four haves" mode of sound transmission can not be isolated, but should be combined with the following "homologous differentiation leads to sound transmission" and "sound transmission law" and the previous "sound transmission times level".

The "four haves" in the so-called "four haves" mode refer to time, place, word and sound. "Time" refers to time, both ancient and modern, and "land" refers to the region, north and south. On the surface, "word" is understood as text, but in fact it should be understood as the change of text. The understanding of "sound" should be pronunciation, but it should also be the change of pronunciation. However, the first three are causes and the latter is effects. Strictly speaking, the "four haves" mode of phonetic change should be only "three haves". Or "three causes and one fruit law" is more appropriate.

Tone sandhi is an objective phenomenon, and the macro reason is nothing more than the words "time" and "space", that is, Saussure's temporal change and diachronic change. Chandi of the Ming Dynasty in China had a similar view. He said:

It is necessary to cover the past and the present, and the land has north and south, and the sound has moved. four

Because Chinese characters belong to ideographic writing system, sound and meaning are closely related, Changdi juxtaposes characters with time and place. When it comes to the fact that the first three modes are all caused by the fourth person, the problem turns to the formation of modes. For this causal relationship, Chandi further explained:

But within a county, the sound is different, and the husband and the land are also; In a hundred years, the language has changed, and she is also a husband. There is a pronunciation after the word, from big seal to eight points, from eight to eight points, how many changes, can the sound remain the same? five

Obviously, Chandi regards the change of time, the difference of regions and the change of words as the causes of sound change, but it is a bit blunt to regard the evolution of writing style as the cause of sound change, which is very clear.

This is also the reason why I understand the "four haves" mode of sound transmission as the law of "three causes and one effect" of sound transmission. This has a similar explanation in the previous Grimm's three laws of sound change.

Returning to the "four haves" mode, if there is no "four haves", then there must be a relationship, and there is obviously a causal relationship. Teacher Wu Zeshun understands it as a non-parallel relationship.

Regarding the relationship between time and place, Mr. Wu also defines it as a cross relationship, and after reading it, I think my understanding should have a parallel relationship besides Mr. Wu's cross relationship, that is, I define it as a latitude-longitude relationship. Under the independent action of time or space, sound change can also occur, or sound change is a moving free sound system. This may be a little hard to understand. We can understand or assume that the change of sound is a lot of free bodies on the earth's surface, but when longitude or latitude or * * * work together, it will produce variation, so the whole sphere surface is an objective sound rotation, which is constantly changing, but unknown.

As for the function of zi in sound transmission, Mr. Wu said that it has the nature of transcending time and space. I used it on the shoulders of great men again. In our opinion, it should be limited to the evolution of writing style, and should also include interchangeable words, dialect typos, dialect words and cognate folk words. Time and space are also reflected in the following two aspects:

1) The changes of characters are staggered in time and space. The change of characters may be in the time plane, or it may be diachronic and vertical. It often changes with the change of language and is not limited by time and space.

2) The use of characters transcends dialects.

Dialect variation causes phonetic differences between dialects and * * * homophones. In order to record dialect words, people often use two methods: dialect coinage and dialect loanwords.

In this way, the "four haves" mode of tone sandhi has some relevance and explanation.

The existence of this "four haves" mode of sound transition has its theoretical value, and I will make a brief introduction:

1) The historical view of language highlighted by the "four haves" model promotes the study of ancient sounds.

2) The phonological principle revealed by the "four haves" model promotes the exploration of ancient meanings.