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在中国文学史上,骚与赋存在着密切的关联。魏晋南北朝时期,在文学理论家的篇目中开始出现从“纳骚于赋”“骚合于赋”到“骚赋分篇”“别骚于赋”的走向。这其中,将“骚”与“赋”分而论之,进行全面阐述的就是刘勰的《文心雕龙》。刘勰对《辨骚》和《诠赋》的定位和理解在一定程度上反映了魏晋南北朝时期文学开始自觉和文章雅化的时代思潮。笔者将从刘勰的骚赋观出发讨论骚赋的文体差异。
In the history of Chinese literature, there is a close relationship between the show and the Fu. In the period of Wei, Jin, Southern and Northern Dynasties, the literary theorists began to appear from “Nassau in Fu ” “Sutra in Fu ” to “Sao Fu ” “ . Among them, the ”Sao“ and ”Fu“ points in theory, a comprehensive elaboration is Liu Xie’s ”Literary Heart Carving Dragon.“ To a certain extent, Liu Xie’s position and understanding of ”discerning Sao“ and ”interpretation of Fu" reflected the trend of thoughts of the times when the literature in the Wei, Jin, Northern and Southern Dynasties began to consciously and elegantly suppressed. The writer will discuss the stylistic differences of Sao fu from the perspective of Liu Xie’s fu.