潘耒（1646-1708）師承清代樸學大師顧炎武，舉凡經史、曆算、音韻 之學，莫不通達，對於象數與等韻尤有獨到之見解。《類音》為雜糅型的等 韻論著，潘耒編撰此書的目的在於「斟酌古今、會通南北」，建構出能導正 天下方音的理想音系。然而，當代學者對於《類音》的探討，大多採行「語 音史」的研究路徑，以現代吳江方音作為參照，解釋書中的術語、反切與音 系。此種客觀主義的論點，將《類音》過度予以單純化、客觀化，不僅瀝除 了潘耒在音學上的獨到創見，且在文本詮釋上亦不免有誤讀之虞，值得重 新予以檢視、推敲。本文選擇以潘耒《類音》為研究材料，參考Fauconnier 和Turner 所提出的「合成空間理論」（blended space theory），擬分成以下幾 個步驟進行：首先，試著解析潘耒的概念結構與音學思想；其次，觀察潘 耒如何將陰陽、清濁、輕重… …等概念投射到韻圖形制、反切設計與音系 描寫上；最後，盡可能剝離等韻家主觀意念的干擾，還原語音系統的本來 面貌。

Pan Lei’s 潘耒 (1646-1708) work Leiyin 類音is a hybrid treatise on classified rhymes, which attempts to reconcile historic and regional differences in Chinese phonology by constructing an ideal phonological system. Most research by contemporary scholars discusses Leiyin from the perspective of phonological history, using modern Wujiang 吳江 dialects as a reference point to explain the technical terms, fanqie 反切, and phonological system used in the book. This objective approach sometimes excessively simplifies and objectifies Pan’s Leiyin, not only failing to consider his original phonological insights but also misreading or over-interpreting the text. This makes this text worthy of re-examination and further consideration.
Focusing on Pan Lei’s Leiyin, and referring to Fauconnier and Turner’s blended space theory, this paper first examines Pan’s conceptual structure and phonological thinking; second, it observes how Pan utilizes the concepts of yin/ yang (陰/陽 high/low register), qing/zhuo (清/濁 voiceless/voiced consonants), and qing/zhong (輕/重 unstressed/stressed syllables) in his phonological models, fanqie design and phonological system; and finally, the author attempts to strip away the subjective influence of classified rhyme phonologists to restore the original phonological system.