『四聲通解』에 인용된 『蒙古韻略』과 『蒙古字韻』의 비교 연구 ― 齊薺霽韻을 중심으로

曲曉雲 ( Qu¸ Xiaoyun ) 한국중국언어학회 2020 중국언어연구 Vol.0 No.91

本文首先對寧忌浮(1997)的兩個主張提出質疑, 之後用≪四聲通解≫中的記錄反駁了寧先生的主張:崔世珍所見≪蒙古韻略≫和大英博物館所藏朱宗文手抄本≪蒙古字韻≫在體例上存在著很大的不同;≪蒙古字韻≫有簡單注釋的108個韻字均見於≪蒙古韻略≫, 所以≪蒙古字韻≫和≪蒙古字韻≫原刊本亦收錄這108個韻字, 並非朱宗文所加。 接著之前的研究, 本文對≪四聲通解≫齊薺霽韻所引≪蒙古韻略≫和大英博物館所藏≪蒙古字韻≫作了收錄字和讀音上的比較, 結果是:相同韻字在≪蒙古韻略≫、≪蒙古字韻≫中的讀音完全一致, 但是兩書在收錄字上呈現不小的差異。 依據崔世珍的訓民正音轉寫和≪蒙古字韻≫、碑文、≪百家姓≫等資料中的八思巴字轉寫, 本文認為≪蒙古韻略≫支韻紙韻寘韻、≪蒙古字韻≫支韻「鷄 稽 筓 枅」、「計 係 繫 薊髻 繼」的音為[kiei];「規 □ 摫 圭 珪 邽 閨 袿 窐」、「癸」、「季 桂」的音為[kiuei]。據≪四聲通解≫, [-iuei]音≪蒙古韻略≫八思巴字轉寫為/-ioi/、/-iui/、/-ioei/、/-iuei/四種, 本文對同一韻母的不同轉寫現象作了解釋。 依據≪四聲通解≫支紙寘韻、齊薺霽韻、灰賄隊韻所引≪蒙古韻略≫的記錄和≪蒙古字韻≫等資料的八思巴字轉寫可以得出≪蒙古韻略≫支紙寘韻、≪蒙古字韻≫支韻有[-i]、 [-ɿ]、[-ʅ]、[-iei]、[-uei]、[-iuei]六個韻母的結論。 崔世珍在≪四聲通解≫裡只提及了≪千字文≫的八思巴字注音文獻≪千字蒙音≫兩次, 但是這兩次都很有分量, 體現了他重視現實音的正音觀和對語音的正確認識。 This paper first questions the two propositions of Ning Ji Fu(寧忌浮) (1997), and refutes Prof. Ning’s propositions with the records in “Sa-Seong-tong-Hae”. There is a great difference in style between the “Meng-Gu-Yun-Lüe” seen by Choi Se-Jin and the “Meng-Gu-Zi-Yun” in the British Museum; the 108 Chinese characters with simple notes are not added by Zhu Zongwen, but are included in the original editions of “Meng-Gu-Yun-Lüe” and “Meng-Gu-Zi-Yun”. This paper makes a comparison between “Meng-Gu-Yun-Lüe” in “Sa-Seong-tong-Hae” and the “Meng-Gu-Zi-Yun” in the British Museum. The result is that the The pronunciation of recorded Chinese characters in “Meng-Gu-Yun-Lüe” and “Meng-Gu-Zi-Yun” is exactly the same, but there is a big difference in the Chinese characters included in the two books. According to Choi Se-Jin’s correct transliteration of Hun-min-Jeong-Eum and the transliteration of Basiba in the materials of “Meng-Gu-Zi-Yun”, inscription and surname, this paper holds that the pronunciation of the Chinese character, “鷄 稽 筓 枅, 計 係 繫 薊 髻 繼” in “Meng-Gu-Yun-Lüe” and “Meng-Gu-Zi-Yun” is [kiei], and the pronunciation of the Chinese character “規 □ 摫 圭 珪 邽 閨 袿 窐, 癸, 季 桂” is [kiuei]. According to “Sa-Seong-tong-Hae”, the [-iuei] sound “Meng-Gu-Yun-Lüe” is translated into four kinds of characters: /-ioi/, /-iui/, /-ioei/ and /-iuei/. This paper explains the different transliteration phenomena of the same vowel. According to the records of “Meng-Gu-Yun-Lüe” quoted by “zhī(支) zhǐ(紙) zhì(寘)” Rhyme, “Qī(齊)Jǐ(薺)Jì(霽)” Rhyme and “huī(灰) huǐ(賄) duì(隊)” Rhyme in “Sa-Seong-tong-Hae” and the rewriting of “Meng-Gu-Yun-Lüe” and other materials such as “Meng-Gu-Zi-Yun”, we can draw the conclusion that the “zhī(支) zhǐ(紙) zhì(寘)” Rhyme of “Meng-Gu-Yun-Lüe” and the “zhī(支)” rhyme of “Meng-Gu-Zi-Yun” have six yunmu(韻母): [-i], [-ɿ], [-ʅ], [-iei], [-uei] and [-iuei]. In “Sa-Seong-tong-Hae”, Choi Se-Jin only mentioned “Qian Zi Meng Yin” twice, but these two times carry great weight, which shows that he attaches importance to the correct view of realistic pronunciation and the correct understanding of phonetics.

『五方元音』訓民正音和滿文譯訓本考

曲曉雲(Qu Xiaoyun) 중국어문학연구회 2009 중국어문학논집 Vol.0 No.56

『五方元音』훈민정음과 만주어 譯訓本은 2002년에 작고하신 SEOUL대학교 언어학과 교수님 이셨던 김방한 선생님이 전남대학교 중앙도서관에 기증한 도서이다. 이 책은『五方元音(上下)』이라는 제목으로 훈민정음뿐 아니라 만주어로 동시에 年希堯의『五方元音』증보본의 중국음을 표기하였기 때문에 알타이어 특히, 몽골어 연구에 대가이셨던 김방한 선생님이 이 자료를 영인하셨을 지도 모른다. 그러나 이 책을 어디서 어떻게 영인하게 되었는지 전혀 알 길이 없다. 필자는 고찰을 통해 『五方元音』훈민정음 및 만주어 譯訓本과 『華東正韻通釋韻考』및 『漢淸文鑑』과의 관계를 확인할 수 있었고, 이에 근거하여 『五方元音』한글 번역본의 編纂 연대는 영조대의 18세기 중엽으로 추정하고 있다. 그리고 훈민정음의 對音을 통해『五方元音』두 개의 영성모인 雲母와 蛙母의 성격을 밝혔다.

『四聲通解』의 魚語御韻과 模姥暮韻에 인용된 『蒙古韻略』과 『蒙古字韻』의 비교 연구

曲曉雲 ( Qu Xiaoyun ) 한국중국언어학회 2021 중국언어연구 Vol.- No.94

本文對崔世珍在≪四聲通解≫魚語御韻和模姥暮韻標註≪蒙古韻略≫何音的字與≪蒙古字韻≫做的比較分析結果如下: 1) 除了「遽」等字的訓民正音轉寫「:뀨」應改為「·뀨」、「貯」等字的訓民正音轉寫「쥬」應改為「:쥬」、「戍」等字的訓民正音轉寫「슈」應改為「·슈」外, ≪四聲通解≫魚語御韻和模姥暮韻所引≪蒙古韻略≫小韻字讀音與≪蒙古字韻≫完全一致。但≪蒙古韻略≫和≪蒙古字韻≫在收錄字上存在不同。 2) 漢語[-əw]音的≪蒙古字韻≫八思巴字轉寫為/-uw/, ≪蒙古韻略≫的訓民正音轉寫為/-əw/。八思巴字轉寫/-uw/與漢語拼音的/-ou/類似, 訓民正音的轉寫與IPA標記一致。 3) 「醵」在≪蒙古字韻≫裡有平聲 [giu]和入聲 [giεw]二音, 但在≪蒙古韻略≫裡還有去聲[giu]一音;「柱」在≪蒙古字韻≫裡有上聲 [dʒiu]一音, 在≪蒙古韻略≫裡還有上聲 [t∫iu]和去聲 [giu]二音;「紵」在≪蒙古字韻≫裡有上聲 [dʒiu]一音, 在≪蒙古韻略≫裡還有上聲 [t∫iu]一音。「輸」在≪蒙古字韻≫裡有平聲 [∫iu]一音, 在≪蒙古韻略≫裡還有去聲 [∫iu]一音。 4) ≪四聲通解≫的收錄字以≪洪武正韻≫為基準, 在≪洪武正韻≫、≪蒙古韻略≫均收錄並且在二書中的讀音一致的收錄在先, 不標註≪蒙古韻略≫何音;二書讀音不一致的漢字收錄在其後, 并標註≪蒙古韻略≫何音。崔世珍在≪四聲通解≫裡添加了≪洪武正韻≫未收錄的「續添字」, 一些「續添字」也見於≪蒙古字韻≫, 本文推測, 這樣的「續添字」可能也收錄在≪蒙古韻略≫。 5) ≪蒙古字韻≫和≪蒙古韻略≫有魚母一聲紐, 八思巴字轉寫為/’-/, 有別于喩母的/j-/, 但是崔世珍的轉寫均為/ㅇ/, 所以二母的實際音值均為零聲母[ø-]。 6) ≪蒙古字韻≫魚韻(≪蒙古韻略≫魚語御韻) 有[-u]、[-iu]兩個韻母, 但是[-iu]中的[i]受其後圓唇母音u的影響, 實際音值為接近圓唇[y]的一個音, 所以八思巴字轉寫為/ė/, 訓民正音裡無這樣的元音, 並且帶有圓唇性質的[i]與純粹的[i]在音位上不構成對立, 所以訓民正音轉寫為[i]。通過≪蒙古字韻≫魚韻(≪蒙古韻略≫魚語御韻) 的八思巴字和訓民正音的轉寫, 證明漢語的[y]韻母在≪蒙古字韻≫(≪蒙古韻略≫) 成書的時代還未產生。 7) 崔世珍在≪四聲通解≫魚語御韻和模姥暮韻引用的包括「迂」在內的≪古今韻會≫的記錄均與≪古今韻會擧要≫一致。花登正宏(1997:71) 主張從崔世珍的注釋可以證明崔世珍所見「韻會」為≪古今韻會≫, 而非≪古今韻會擧要≫, 這一主張是錯誤的。 Choi Se-Jin makes a comparative analysis of the pronunciation of some words marked “Meng-Gu-Yun-Lüe” in “Sa-Seong-tong-Hae” Yú (魚), Yǔ (語), Yù (御) and Mú (模) Mǔ (姥) Mù (暮) Rhyme. This paper makes a comparative analysis of these words and “Meng-Gu-Zi-Yun”, and the results are as follows: 1) The Chinese [-əu] sound is translated into /-uw/ in the Phags-pa character of “Meng-Gu-Zi-Yun”. The Hunminjeongeum of “Meng-Gu-Yun-Lüe” is translated into /--əw /. The transliteration of the Phags-pa character /-uw/ is similar to the /-ou/ of Hanyu Pinyin, and the transliteration of the Hunminjeongeum is consistent with the IPA mark. 2) “醵” has 平聲 [giu] and 入聲 [giεw] in “Meng-Gu-Zi-Yun”, but there is 平聲 [giu] and 入聲 [giεw] and 去聲 [giu] in “Meng-Gu-Yun-Lüe” ; “柱” has 上聲 [dʒiu] in “Meng-Gu-Zi-Yun”,but there is 上聲 [dʒiu] and 上聲 [t∫iu] and 去聲 [giu] in “Meng-Gu-Yun-Lüe” ; “紵” has 上聲 [dʒiu] in “Meng-Gu-Zi-Yun”, but there is 上聲 [dʒiu] and 上聲 [t∫iu] in “Meng-Gu-Yun-Lüe” ; “輸” has 平聲 [∫iu] in “Meng-Gu-Zi-Yun”, but there is 平聲 [∫iu] and 去聲 [∫iu] in “Meng-Gu-Yun-Lüe” ; 3) The included words of “Sa-Seong-tong-Hae” are based on “Hongwu Zhengyun”. The words with the same pronunciation in Hongwu Zhengyun and “Meng-Gu-Yun-Lüe” are included first, and The words with inconsistent pronunciation in the two books are included later, and marked with he Yin of “Mongolian Rhyme”. Choi Se-Jin added “續添字” which is not included in “Hongwu Zhengyun” in “Sa-Seong-tong-Hae”, some of which can also be found in “Meng-Gu-Zi-Yun”. This paper speculates that such “續添字” may also be included in “Meng-Gu-Yun-Lüe”. 4) “Meng-Gu-Yun-Lüe” and “Meng-Gu-Zi-Yun” have 魚母, and the Basiba character is /’- /, which is different from the 喩母’s / j- /, but Choi Se-Jin’s transliteration is /ㅇ/, So the actual sound values of the two initials are both zero consonants [ø-]. 5) The “Meng-Gu-Zi-Yun” Rhymes of Yú (魚) (“Meng-Gu-Yun-Lüe” Rhymes of Yú (魚), Yǔ (語), Yù (御)) has two vowels [-u] and [-iu], but the [i] in [-iu] is affected by the subsequent lip vowel u, and the actual sound value is close to that of the lips [y], so the Phags-pa character is pronounced as /ė/, Hunminjeongeum does not have such a vowel, And there is no phoneme opposition between the lip-sensitive [i] and the essential [i], so the Hunminjeongeum is called [i]. Through the transliteration of the Phags-pa and Hunminjeongeum of the “Meng-Gu-Zi-Yun” Rhymes of Yú (魚) (“Meng-Gu-Yun-Lüe” Rhymes of Yú (魚), Yǔ (語), Yù (御)), Prove that [y] vowels were not generated at the time of “Meng-Gu-Zi-Yun” (“Meng-Gu-Yun-Lüe”)’s writing. 6) Cui Shizhen’s records of “Gu Jin Yun Hui”, including “迂”, are consistent with the “Gu Jin Yun Hui Ju Yao”. Masahiro Hanato (1997:71) argued that it can be clarified from Cui Shizhen’s notes that the “rhyming meeting” seen by Cui Shizhen is “ancient and modern rhyming meeting” rather than “ancient and modern rhyming meeting”, which is wrong.

『사성통해(四聲通解)』에 인용된 문헌에 대한 연구

곡효운 ( Qu Xiaoyun ) 한국중국언어학회 2021 중국언어연구 Vol.- No.97

“Si-Sheng-tong-Jie” is undoubtedly a very valuable material not only in the history of Chinese Linguistics, but also in the study of Korean Linguistics history. Since “Meng-Gu-Yun-Lüe” and “Gu-Jin-Yun-Hui” have not been handed down, it is only through “Si-Sheng-tong-Jie” that the information of the two rhyme books can be confirmed, so it is of more reference value. This paper first evaluates the contribution of Yu, Chang-gyun(1974) and Endo Mitsuaki(2001) to the literature cited by “Si-Sheng-tong-Jie”, and then points out the mistakes in these two studies., and then expounds some new opinions of the author. In particular, it should be pointed out that the “Yun-Hui” quoted by “Si-Sheng-tong-Jie” is not “Gu-Jin-Yun-Hui”, but should be “Gu-Jin-Yun-Hui-Ju-Yao”. In the future, we will do specific analysis and research on this issue.

《元聲韻學大成》反映的語音系統以及與相關韻書的關係

曲曉雲(Qu Xiaoyun) 중국어문학연구회 2011 중국어문학논집 Vol.0 No.67

『元聲韻學大成』은 중국 明나라 萬歷 6年(1578) ?陽?가 편찬한 책이다. ?陽?가 말하는 “元聲”은 당시 중국 전국에서 통용되었던 표준어이자 正音이며 官話였다.『四庫全書總目提要』를 비롯하여 오랫동안 중국 정통의 음운학자들이 이 책을 중시하지 않아, 그 가치를 매몰시켰다. 이 책은 당시 중국 남방과 북방의 표준어를 모두 기록한 문헌이어서 16세기 말 중국남과 북의 語音 상황을 고찰하는 데에 있어 보기 드문 귀중한 자료라 할 수 있다 . 『元聲韻學大成』의 저본은 王文壁의 『中州音韻』이고 王文壁의 『中州音韻』의 저본은 『洪武正韻』과 『韻學集成』이다. ?陽?가 서문에서 언급했던 “四와 寺, 試와 事, 携와 回, 姜과 江”의 대립은 王文壁의 『中州音韻』에 보이지 않고 당시의 표준 독서음에 보였다. 이 표준음은 중국 북앙에서 통하였던『中州音韻』을 뛰어넘는 천하에 통하였던 표준 독서음이다.

『語言自邇集』19세기 중엽 북경어에 관한 연구

曲曉雲(Qu Xiaoyun) 중국어문학연구회 2009 중국어문학논집 Vol.0 No.59

『合倂字學篇韻便覽』의 현실 북경음에 관한 연구

曲曉雲(Qu Xiaoyun) 중국어문학연구회 2009 중국어문학논집 Vol.0 No.54

「五方元音」訓民正音 音解本 연구(1)

曲曉雲(Qu Xiaoyun) 중국어문학연구회 2012 중국어문학논집 Vol.0 No.73

『四聲通解』 皆解泰韻에 인용된 『蒙古韻略』과 『蒙古字韻』의 비교 연구

곡효운 ( Qu Xiaoyun ) 한국중국언어학회 2022 중국언어연구 Vol.- No.102

本文對崔世珍在《四聲通解》皆解泰韻標註《蒙古韻略》何音的字與《蒙古字韻》做的比較分析結果如下: 1) 除了「罷」等字《蒙古韻略》的訓民正音轉寫「·빼」應改為「:빼」、「嘬」字《蒙古韻略》的訓民正音轉寫「쵀」應改為「쵀」、「聩」字的《蒙古韻略》訓民正音轉寫「왜」應改為「왜」外, 《四聲通解》皆解泰韻所引《蒙古韻略》韻字讀音與《蒙古字韻》完全一致(旁點未標的太多, 不在本稿校正範圍之内)的占絕大多數, 但雨書在收錄字上存在不同。 2) 在《蒙古字韻》裡讀[uei]的平聲「危 桅 巍 桅 嵬」、上聲「隗 嵬 頠」、去聲「魏 僞 磑」在『蒙古韻略』裡讀[ŋuei]。 3) 《蒙古字韻》佳韻崖小韻與《四聲通解》所引《蒙古韻略》在收錄字上完全一致, 但讀音上呈[ai]和[iai]的差異;《蒙古字韻》佳韻娃小韻與《四聲通解》所引《蒙古韻略》在收錄字上除了「噯」這個續添字和幾個異體字外都完全一致, 但平聲、上聲、去聲收錄字在讀音 上呈[ʔai]和[ʔiai]的差異, 入聲收錄字均為[ʔai]。 4) 據《四聲通解》凡例第二條和第三條可知《四聲通解》裡的「續添字」是崔世珍認為很重要的常用字、但《洪武正韻》沒有收錄的字, 即用圓圈圈住的那些字。但僅看這雨條凡例很可能陷入一個陷阱, 即《四聲通解》裡的「續添字」一定沒有收錄在《洪武正韻》。《洪武正韻》收「聩」, 但是《四聲通解》皆解泰韻疑母下收圓圈標註的「聩」。《洪武正韻》的收錄字「聩」僅有[ɦuei]—讀, 這一音也收錄在《四聲通解》的灰賄隊韻。而《四聲通解》皆解泰韻疑母下的「聩」賣[ɦuai], 《洪武正韻》不收讀的「聩」, 所以崔世珍在皆解泰韻疑母下放入「續添字」「聩」。通過「聩」這個例子, 我們可知《四聲通解》裡的「續添字」有雨種類型:一是《洪武正韻》沒有收錄的常用字;二是《洪武正韻》有收錄, 但是作為常用字使用時的讀音不同於《洪武正韻》的話, 崔世珍也會將其歸為「續添字」, 收錄在《四聲通解》。 5) 依據崔世珍的訓民正音轉寫可知, 《蒙古韻略》的魚母為零聲母, 幺母為影母。 6) 「衰」在《四聲通解》裡有[ʃuei]和[tshuei]二音, 這與「衰」在《洪武正韻》的平聲灰韻淸母倉回切、平聲灰韻審母所追切二音一致。「衰」在《洪武正韻》還有平聲歌韻心母桑何切一音, 但《四聲通解》未收錄。《四聲通解》所引《蒙古韻略》裡的「衰」有[tshuei]和[ʃuai]二音, 《蒙古字韻》裡所收「衰」有[tʄuai]和[ʃuai]二音。 7) 《四聲通解》皆解泰韻中聲「ㅒ」([-iai])起始部分有如下說明:「今俗或從ㅐ([-ai]), (蒙韻) 從ㅒ([-iai])。」”依據這個說明我們可知:在《洪武正韻》、《四聲通解》、《蒙古韻略》裡讀[-iai]的字在崔世珍親自聽到的今俗音 (當時的現實北方標準口語音)裡有的字己經從[-iai]變為[-ai]了。 8) 通過《四聲通解》皆解泰韻所引《蒙古韻略》與《蒙古字韻》的比較分析, 我們可知 《蒙古字韻》佳韻的韻母為[-ai] [-iai] [-uai]。 Choi Se-Jin makes a comparative analysis of the pronunciation of some words marked Meng-Gu-Yun-Lüe in Sa-Seong-tong-Hae Jiē (皆),Jiě (解),Tài(泰) Rhyme. This paper makes a comparative analysis of these words and Meng-Gu-Zi-Yun, and the results are as follows: 1)There are two types of 續添字 in Sa-Seng-Tong-Hai: one is the frequently used Chinese characters that are not included in HongWuZhengYun, and the other is that HongWuZhengYun is included. But if the pronunciation of the frequently used Chinese characters is different from that of HongWuZhengYun, Choi Se-Jin will also classify it as 續添字. 2)According to Choi Se-Jin's Phonetic accent of Hunminjeongeum, the 魚母 of Meng-Gu-Yun-Lüe are zero consonants [ø-] and 幺母 are shadow initials. 3)“jiā(佳)” rhyme of “Meng-Gu-Zi-Yun” have six yunmu(韻母): [-ai], [-iai] and [-uai].

『四聲通解』 眞軫震質韻에 인용된 『蒙古韻略』과 『蒙古字韻』의 비교 연구

곡효운 ( Qu¸ Xiaoyun ) 한국중국언어학회 2023 중국언어연구 Vol.- No.108

本文對崔世珍在『四聲通解』眞軫震質韻標註『蒙古韻略』何音的字與『蒙古字韻』做的比較分析結果如下: 1) 「緊」收錄在『廣韻』和『集韻』上聲臻韻, 一般構擬為[kjen];也收錄在『中原音韻』真文韻上聲和『洪武正韻』上聲軫韻, 一般構擬為[kiən]。但「緊」的『蒙古韻略』和『蒙古字韻』讀[kiein], 不同於『洪武正韻』。 2) 「拮」在『蒙古韻略』有[kie]和[kiei]二音, 在『蒙古字韻』只有[kie]一音。 3) 「趌」在『洪武正韻』和『蒙古字韻』均有收錄, 但不收錄于『四聲通解』。理由有二:雖收錄于『蒙古韻略』但被崔世珍遺漏掉、或未收錄於『蒙古韻略』。 4) 「斤 筋 釿」等在『蒙古韻略』和『蒙古字韻』讀[kin](或者標為[kiən]), 和「緊」的『蒙古韻略』和『蒙古字韻』[kiein]讀音形成對比。 5) 「欯」未收錄于『中原音韻』, 但收錄在『廣韻』『集韻』『中州音韻』, 均讀曉母。但「欯」在『蒙古韻略』讀曉母的[xiei], 在『蒙古字韻』讀匣母的[ɣiei]。 6) 崔世珍對「贇」的『蒙古韻略』『古今韻會』讀音轉寫為「□」 。若把「□」用羅馬字轉寫, 則為/ʔiuiein/, 但實際上近代漢語不存在這樣的讀音。和「贇」一起收錄在『蒙古字韻』同一八思巴字下的「煴 氲 馧」等韻字收錄在『四聲通解』文吻問物韻[ʔiun]音下。崔世珍對這些字沒有做「『蒙古韻略』音如何」的說明, 所以「煴 氲 馧」等韻字的『蒙古韻略』讀音為([ʔiun]。所以「贇」的『蒙古韻略』音為[ʔiun]。 7) (蒙古字韻(眞韻[-iun]的八思巴字轉寫有如下三種:/-ṷin/(影母)、/-uin/(喩(魚)母)、/-ėin/(影母和喩(魚)母以外的聲母)。 Choi Se-Jin makes a comparative analysis of the pronunciation of some words marked “Meng-Gu-Yun-Lüe” in “Sa-Seong-tong-Hae” zhēn (眞), zhěn (軫), zhèn (震), zhi (質) Rhyme. This paper makes a comparative analysis of these words and “Meng-Gu-Zi-Yun”, and the results are as follows: 1) “緊” is included in “Guang-Yun” and “Ji-Yun”, which is generally constructed as [kjen]. “緊” is also included in the true rhyme of “Zhong-Yuan-Yin-Yun” and “Hong-wu-Zheng-Yun”, which is generally constructed as [kiən]. However, “緊” is read in “Meng-Gu-Yun-Lüe” and “Meng-Gu-Zi-Yun” [kiein], which is different from “Hong-wu-Zheng-Yun”. 2) There are two Hunminjeongeum transliterations of Chinese [iun] pronunciation: “□” and “□”. 3) There are three kinds of translation of Basiba characters in rhyme of “Meng-Gu-Zi-Yun” zhēn(眞́) [-iun]: /-ṷin/ (影母), /-uin/ (喩(魚)母), and /-ėin/ (consonant other than 影母 and 喩(魚)母).