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两汉大赋为辞赋之主流,而魏晋六朝的俳谐赋为其支流,历来不受文学批评家的重视。大赋惊彩绝艳,旨在讽谏;幽默之赋则文体多变,自嘲嘲人,为抒情之利器。认识幽默赋的创作,应先了解“滑稽”的三层含义,以明其精神源流,由中深入明瞭滑稽幽默之赋具备的俳优语言的特点,以及指桑骂槐,不受道德和传统规范的创作形态。本文将此类赋依照其讽刺对象,分为三类,一为幽默自嘲之赋,以东方朔《答客难》、扬雄《逐贫赋》、左思《白发赋》为例,探讨其特色;二为诙谐讽刺之赋,以王褒《僮约》、鲁褒《钱神论》为中心,分析其风格;三则为纯粹游戏之作,通过对魏晋以降大量的诙谐杂戏之作,如袁淑的《鸡九锡文》类作品的考述,申述其精神。进而对其历史背景、文学技巧展开论述,又在说明俳谐赋的文学史价值。
The two Han dynasties are the mainstream of Ci Fu, while the Wei, Jin and Six Dynasties Harmony Fu as its tributaries, has never been the attention of literary critics. Da Fu stunning stunning, designed to satirical remonstrance; style of humor is changing style, self-deprecating ridiculed people for the lyrical tool. To understand the creation of humorous fu, we should first understand the three meanings of “funny ” so as to clarify the origin of the spirit, and further understand the characteristics of the gifted language that come from the comical fussy, as well as the accusation that morality and traditional norms Creation form. In this paper, we classify these funerals according to their satirical objects into three categories: one is a humorous self-deprecating one, the other is Dongfang Shuo’s “Answered Difficulties”, Yang Xiong’s “Poverty Alleviation” and Zuo Si “Bai Fa Fu” As the witty irony of the Fu, to Wang Bao “Tongyue”, Lu praised “Money God” as the center, analyze its style; the third is a pure game for the Wei and Jin by a large amount of witty drama, such as Yuan Shu’s “Jiugujiwen” class works of the test, the statement of its spirit. Then it discusses its historical background and literary skills, and also illustrates the value of Harmony Fu literature history.