摘要
文学总集对于文体观念的研究具有不可替代的价值。清人严可均就通过《全上古三代秦汉三国六朝文》的编辑整理呈现他的骚体观念。借由对《全上古》凡例、按语、所录作品的分析梳理确认该书录唐前“骚”文59篇,由作品标题或序文体现的拟“骚”(《楚辞章句》所收作品)的立意,是《全上古》确立为“骚”的首要指标,而不论语言形式。题目体类特征不明显的作品“,兮”字句、句腰虚字句则成为《全上古》“骚体”判断的主要依据“。骚”从《诗》出“,骚”包含传统的“辞”体,也是广义的“赋”的一个亚类。严可均的观念受《艺文类聚》影响较大,但有所调整。《全上古》为代表的总集表达的骚体观念在清代较有代表性,刘熙载《赋概》等相关讨论与之呼应。
The literature collection has irreplaceable value for the study of style concepts.Yan Kejun严可均presented his idea of the Sao-style骚体through the editing and compilation of the Quan shanggu sandai qinhan sanguo liuchao wen全上古三代秦汉三国六朝文.By analyzing and sorting out the common examples,notes,and selected works in this book,the compiler confirmed that the book includes 59 pre-Tang Sao texts.The concept of Sao(works collected from Chuci zhangju楚辞章句)reflected in the titles or prefaces of the works is the primary indicator of Sao defined in the book,regardless of the linguistic forms.For works with less obvious stylistic features,the use of the character“xi”兮and the presence of empty words at the end of sentences becomes the main basis for determining the Sao style in the book.Sao originates from The book of songs诗经,encompassing the traditional Ci style辞体as a subcategory of the broader Fu赋.Yan Kejun’s concept was greatly influenced by Yiwen leiju艺文类聚,but with some adjustments.The concept of Sao style expressed in the general collection represented by this book was more representative in the Qing Dynasty,which was echoed by other discussions such as those in Fu gai赋概of Liu Xizai刘熙载.
出处
《中山大学学报（社会科学版）》
CSSCI
北大核心
2024年第3期28-37,共10页
Journal of Sun Yat-sen University(Social Science Edition)
基金
国家社会科学基金重大项目“历代赋论整理研究”(19ZDA249)。
关键词
清代
骚体观
《全上古三代秦汉三国六朝文》
副文本
总集
Qing Dynasty
the concept of Sao-style
Quan shanggu sandai qinhan sanguo liuchao wen
paratext
complete works
