摘要
"赋兼六义"说是元代祝尧借鉴宋代《诗经》和《楚辞》的研究心得,在"诗兼六义"、"六义入骚"诸说的基础上提出来的,其意义是使"六义"进入赋学批评,从而成为后世尊体的取径、批评的范式。祝尧对"六义"的界定既根据前人的研究成果,又结合赋体文学的实际创作情况,然而不免有含混之嫌,但也由此制造出赋体文学"六义错综"的效果。"赋兼六义"说不仅为后世所借鉴,而且也呈现出诸种变相。一方面,清代"赋兼比兴"说更加凸显了赋体的主导地位;另一方面,赋中"风雅颂"之义的判断也多从体类风格、篇章主题切入,而非朱熹、祝尧所提倡的讽咏涵濡法。
The theory that Fu-style have six-meaning was created by Zhu Yao who take the example of the research of The Book of Songs and The Songs of Chu in the Song Dynasty,which made six-meaning into criticism of Fu.As a result,the theory had been turned into a criticism paradigm and a way to respect Fu style in later ages.What Zhu Yao defined six-meaning is at the risk of vague,but it also created the effect that six-meaning was blend in Fu-style literature.The theory is not only used for reference by later generations,but also presents various kinds of disguised forms.On the one hand,the theory that Fu-style has Bi-xing in the Qing dynasty highlights the dominant position of Fu.On the other hand,the judgment of Fengyasong in Fu-style literature is mostly based on the textual style and theme,rather than the enclosing method advocated by Zhu Xi and Zhu Yao.
出处
《古代文学理论研究》
2019年第1期86-105,共20页
Studies of Ancient Chinese Literary Theory
关键词
赋兼六义
祝尧
《古赋辨体》
赋兼比兴
赋学批评
Fu-style Having Six-meaning
Zhu Yao
Stylistic Analysis of Ancient Fu Style
Fu-style having Bi-xing
criticism of Fu
