作　者：易闻晓
关键词：楚辞；骚体赋；屈原；《文心雕龙》
摘　要：

 汉人辞、赋不分，及王逸《楚辞章句》以书定名、南朝《文心雕龙》《文选》辞、赋二分，不害本来为一。屈原人格精神系于三代理想与楚人气性，屈《骚》等怨怼激发，以抒情为主线，重沓繁复，散语长短参差，广托名物，富于描写，多述楚地、楚物及远古三代“虚无”之事，迥异《诗》四言重章叠句的咏唱，别立一体，独守乡风，略无祖《诗》之证。汉儒将《诗》《书》等据为经典，从经义立场对屈原及其作品予以扬抑褒贬，固无所契。汉代骚体赋取效屈宋等，所祖不一，衍为弔屈与自悼、《太玄》与《思玄》、自我抒情或代为抒情、述志纪行， 以及骚体叙物，或参大赋，大都系于一己进退、宠辱、生死，或“心存魏阙”，以理节情，归于经义，叙事纪行，由虚转实，结构严谨，句式整饬，多以议论抒情，名物、描写为寡，卒至不克铺陈。

 

Transformation of the Verses of Chu and Sao-style Fu Of the Han Dynasty

Yi Wenxiao (Guizhou Normal University)

 

Abstract Ci and Fu were regarded as the same by people in the Han Dynasty since they shared the same genre originally. The Verses of Chu was named after Chapters and Verses Commentary to the Verses of Chu (Chuci zhangju) by WangYi, Ci and Fu were separate in the Southern Dynasties according to Literary Mind and the Carving of the Dragon (Wenxin diaolong) and Selections of Refined Literature (Wenxuan). Qu Yuan’s spirit stemmed from the ideals of Three Generations (the term Three Generations has two meanings here. One refers to Yao, Shun and Yu, the three periods in ancient China; the other refers to Xia, Shang and Zhou, the three dynasties) and the disposition of Chu people. His cynical spirit is expressed in Encountering Sorrow (Li Sao) lyrically, repetitively and abstrusely. The prose style language in Li Sao varied in length of lines and expressed emotions via entities and descriptions abundantly. It described the territory and objects in Chu nation and legends of Three Generations, which differs from four-characters for each line in The Classics of Poetry, creating a unique Chu-style without imitation of The Classics of Poetry. The Han Confucians appraised Qu Yuan and his works from the perspective of Confucian classics as represented by The Classics of Poetry and The Classics of Documents, which could not provide a justified evaluation. Sao-style Fu imitated Qu Yuan and Song Yu respectively, resulting in two styles: Tai Xuan Fu or Si Xuan Fu, a commiseration for Qu Yuan or oneself, and Su Zhi Fu or Ji Xing Fu, etc, an emotional expression for oneself or others. The Sao style, which express restraintly according to Confucian faith, either gained inspiration from Han Fu, concentrating on individual’s rise and fall, honors and humiliations, life and death, or was concerned about the nation and people. The narration of objects and journey was transferred from nihility to factuality, with well-knit symmetrical structures. It was rich in argumentation and lyric expression, instead of objects narration and description, eventually abandoning elaborate narration completely.

Key words The Verses of Chu; Sao-style Fu; Qu Yuan; Literary Mind and the Carving of the Dragon

 

■作者简介 易闻晓，文学博士，贵州师范大学文学院教授、博士生导师；贵州 贵阳 550001。

 

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