This paper explores the functions of morpheme-based rendaku, or "sequential voicing", in Eastern Old Japanese poetry, with a focus on its function of maintaining rhythmic stability in poetic verse. It is argued that this function is implemented to avoid a hypermetrical line when no adjacent vowels exist as candidates for synchronic elision. Furthermore, a comparison with synchronic vowel elision is conducted. Based on the results, it is argued that morpheme-based rendaku is preferred to synchronic vowel elision when both are available options for maintaining the rhythmic stability of a line. Linguistic constraints blocking morpheme-based rendaku are also discussed to explain hypermetrical examples with potential, yet unrealized, morpheme-based rendaku.
Keywordsphonology; phonetics; Old Japanese; rendaku; poetry
IzvlečekRaziskava se osredotoča na funkcijo t.i. "sequential voicing" ali zvenečnjenja na nivoju morfemov v stari vzhodno-japonski poeziji, in sicer daje poudarek funkciji, ki ohranja ritmično stabilnost verza. Avtor pokaže, da se v primeru, ko ni okoliških samoglasnikov, ki bi sodelovali pri sinhronem izpadu samoglasnikov, z uporabo te funkcije izognemo hipermetrični vrstici. Vzporedno avtor primerja zvenečnjenje in sinhroni izpad samoglasnikov in ugotovi, da je v primeru, ko sta za ohranjanje ritmične stabilnosti možni obe vrsti posredovanja, zvenečnjenje bolj željena izbira. Nazadnje so analizirane lingvistične omejitve, ki preprečujejo uporabo zvenečnjenja, in s tem tudi hipermetrični primeri s hipotetičnim obstojem zvenečnjenja.