摘要
The meaning of the contrast between the even (p'ing) and oblique (tse) tones in Ancient Chinese was discussed by several scholars, such as Chou Fa-kao, Wang-li and Mei Tsu-lin. The purpose of this paper is to suggest a new interpretation adn to propose for each tone the possible tonal contour. Basing on the rich material collected in "Hsi-t'an tsang," by the Japanese monk Annen in the year 880 A. D., and some other evidences, the author comes to the following conclusion: The distinction between the even and oblique tones is that the former is a real level tone with normal length and the latter ones are non-level tones. Among the non-level tones, the "shang" is a high rising tone with normal length, the "ch'ü" a mid falling tone also with normal length, and the "ju" a short interrupted tone with unknown contour.
From this conclusion, the correct function of the even and oblique tones in Chinese literatures, especially poetry, should be explained as a rule of level versus non-level. Fundamentally, it has nothing to do with long or short, high or low, and light or heavy. Secondly, the "p'ing", "shang" and "ch'ü" could be grouped together as long tones versus the only short tone "ju". This grouping could be used as an secondary rule of length applied after the fundamental rule of level versus non-level.