Проблемы китайского и общего языкознания. К 90-летию С. Е. Яхонтова

 453  The Pai-lang Songs the Earliest Texts in a Tibeto-burman Language...   they occur; this means especially the end-rhymes. Those in the second song are obvious and therefore of great importance because they do not require much analysis of the Pai-lang poetic structure and can be used as guides for the reconstruction of the other rhymes. Unfortunately, it has not yet been possible for me to complete my study of the internal and end rhymes in the poems. I have therefore concentrated on explicating the rhymes within the first song alone, referring to the other songs when necessary to give more examples of rhymes that might at first seem unusual. I have marked all clear end-rhymes on the transcriptions of the poems in the appendices. Whether or not the reconstructions are precisely accu- rate, these syllables certainly rhymed in first-century Pai-lang, they mostly rhymed even in first century Central dialect Chinese, and in many cases they still rhyme today in Mandarin. There are seven principal types of rhyme: 1) head-rhymes (i. e., the same initial consonant(s) shared by the first syl- lable of two or more lines) 1 . 2) head-syllable rhymes (i. e., the first syllable of two or more lines) 3) end-rhymes (i. e., end-syllable rhymes) 4) line-internal rhymes horizontally (i. e., within the same line) 5) internal rhymes vertically between lines (i.e., other than at the begin- ning or the end of the affected lines) 6) skewed rhymes (i. e., vertical rhymes in two or more rhymes, but shift- ed one syllable in either direction, typically in pairs — e. g., ab in one line directly over ba in the next — or longer strings) 7) a skipping pattern within consecutive text (in this pattern, which is particularly frequent, two syllables rhyme sequentially, but another non- rhyming syllable intervenes between them). For the first song I have marked all the rhymes I noticed and feel confi- dent are correct 2 . I would especially like to point out the existence of the Type Six (skewed) rhymes, the predominance of the Type Seven (skipping) rhymes, and the par- allellism in the structure of the head-syllable rhymes and the end-rhymes, which are highlighted in Appendix B. It is very difficult for me to believe that the complex, elegant first song could have been composed ‘in reverse’ on the basis of the pedestrian Chinese 1 There may be more head-rhymes in the first song; identifying them correctly depends on further progress in reconstruction. 2 The head rhymes in the first poem include at least two, in lines 8 and 9: 推 t h - : 拓 t h -, and lines 12 and 14: 莫 m - : 莫 m -.