清代赋论流变研究

【作者】 孙福轩；

【导师】 韩泉欣；

【作者基本信息】 浙江大学 ， 中国古代文学， 2006， 博士

【摘要】 赋，作为介于诗文之间的一种独特文体，起源于战国，繁盛于两汉。其后历代承衍，六朝的骈体赋，唐代的律体赋，宋代的文体赋，构成辞赋文体发展演变的基本脉络。唐、宋科举试律赋，以律是尚；元、明推尊古体，倡“尊骚重汉”之说；清代返归律体，以唐代律赋为宗，由此形成赋学史后期的 “古、律之辨”，成为赋学发展的另一条重要线索。 清代无疑是赋史和赋学史上的重要时期，作为赋学的“中兴”时代，无论在赋的创作还是理论批评上都取得十分突出的成就。从赋学理论的层面而言，随着辞赋创作的繁荣和文学理论辨体意识的增强，赋与诗画境，不仅呈现出较为清晰的理论发展轨迹，而且区别于诗与古文的理论话语，形成自己深具整合性的理论体系。 以康熙朝为主的清初赋坛，一方面沿袭晚明以来以古是尚的余绪，推崇骚体赋、散体赋、文体赋和沉博巨丽的文风。楚辞的研究受到空前的重视，对于应试律体千人一面的创作倾向颇为不满；另一方面，康熙、雍正时期，推行博学鸿词取士，辞赋创作逐渐兴盛起来，出现了大量的论赋专文和序跋文字。赋论者迎合当时的统治需要，开始了赋学醇雅的理论转向，由前期的崇情开始了对雅丽的追求。为乾嘉时期的辞赋创作与批评奠定了基础，定下了基调。 乾嘉时期，经学和朴学成为学术的主潮，随着学术思潮上的汉宋之争与文章骈散的正统论之争，古体赋与律体赋的创作都取得了巨大的成绩。一方面因科举试赋的刺激产生了大量的馆阁赋(律体赋)；另一方面因帝王倡导“以古文为时文”、反对制义之文仅为“弋取功名之具”的醇雅创作风尚，激起赋家以古赋为世用的创作热情。古体赋家“祖汉宗骚”，返归汉魏，律体赋家则以唐律为指归，建立起以意为主、以复古为取向的兼容赋艺、赋用的博大精深的理论体系。古律之辨与相融相合成为此时赋论的主要内容。 以同治、光绪为主的清代后期，时局动荡，汉宋交融，骈散不分，西学引进，均不利于赋的发展，成为赋学发展史上一个较为低落的时期。道同年间，古体赋的理论没有太多的进展。重要的是律赋派开始由对唐赋的推重转向对本朝馆阁赋的颂扬，并在一定程度上表现出对唐代律体赋格律粗疏的不满和批评，成为此期比较重要的一个文论现象。而光绪朝，由于面对全面总结历代文学的时代要求，赋学选本和赋学理论又再次达到一个高峰。以古为律成为律赋家的学理选择，而古体赋派也以刘熙载《赋概》为代表，擎起“祖骚宗汉”的大旗，师法对象也由乾嘉时期的唐赋、咸同之际的本朝馆阁赋而转向汉魏六朝古体赋，与乾嘉时程廷祚《骚赋论》的尊情重古前后呼应，为清代赋学批评划上一个古雅而美满的句号。刘师培、章太炎、王闿运虽然活动于民国初年，但禀承的仍然是传统赋论的路向，作为清代后期的一节列入，也是符合赋学发展的内在逻辑的。 总之，本论文即采用纵横结合的理论框架，一方面从纵向梳理出清代赋学理论的历史演化过程，又从横向辨析其与骚学和其它诗文理论的关系以及和清代思想文化的推衍互动。试图通过对清代赋学的宏观把握，深入考察近三百年来赋学思想的发展嬗变轨迹，并从文化学的视角分析社会心理、文人心态和文艺思潮对赋学发展的影响，同时探讨赋学与同时代其它文体的相互关系。并由此为基点，观照作为其理论背景的清代文学与文化现象，为清代整个文学理论史乃至古代文论的全面阐释提供一个极为重要的观察点和参照系，为清代文学史、美学史、理论史、思想史乃至文化史的研究提供富有一定启示意义的个案。更多还原

【Abstract】 Fu, as a kind of unique style between poem and prose, origins from Zhanguo time, booming in Han-Dynasty. The Parallel-Fu of Liuchao, the Poem-Fu of Tang Dynasty and prose-Fu of Song Dynasty, had built up the base sequence of Ci-Fu evolution. Poem-Fu was used to elect bureaucrat and endowed with superiority. Prose-Fu was thought highly during Yuan and Ming Dynasties. By Qing-Dynasty, as a result of the Poem-Fu was respected again , Tang-Fu was thought model of Fu ’s writing. Then an argument between Prose-Fu with Parallel-Fu appeared and became another important clue in literature theory area.It is undoubtedly that Qing-Dynasty was the most important period for the evolution of Fu-writing and Fu study. Bing a booming time of Fu study, along with the literature evolution, Fu-writing as well as Fu study all gained outstanding achievement .Fu-writing pursed artistic conception which used to be a factor of poem writing. This feature showed a deeply comprehensive style of Fu different from Poem and Prose and gave a clearly developing orbit of Fu evolution. In other words, Fu had built up its unique express style.By the early Qing Dynasty, Kanghsi time, Fu writing and Fu study inherited the classical style of late Ming Dynasty. Sao Fu, Prose Fu, Essay Fu were respected, the deeply consciously style were valued. As a result of regular style created for imperial examination was looked down on, Chu-ci study was taken seriously unprecedented and unrepeatable. Flourishing of Fu writing was caused finally. Catering to the requirement of ruling class, some specialized criticism appeared by way of prelude essay at the beginning of books as well as other articles. According to this feature, Fu study began to change its direction from passion-respected to tasteful and pronounced. This change built basic color in both Fu writing and Fu study during Qianjia time.By QianJia time, Jingxue and Puxue was the main trend of academic. Along with the argument between Han-style with Song-style and Parallel-style with Prose-style, creation of classical Fu and rhymed Fu all acquired huge achievement. On the one hand, large quantity of rhymed Fu had been created as a result of bureaucrat selected by rhymed Fu writing. Emperor opposed this utility trend and had a high regard for classical style. His advocating caused enthusiasm of classical Fu writing finally. During this period, Han-style and Sao-style were valued, Han-Wei style was respected to be the model of Fu writing; for rhymed Fu writing, Tang-style was respected, a comprehensive theory system distinguished by artistic conception, classical taste and embracing had been built up. During this period, argument between classical Fu with rhymed Fu was mediated and became the main feature of Fu theory.In late Qing Dynasty, Tongzhi and Guangxu time, the current political situation became turbulence. This period was a low time in Fu history. As a result of the negative influence brought by west academic, argument between Han-style with Song-style, Parallel-style with Prose-style had been mediated further. By Daoguang and Xianfeng time, theory about classical Fu developed slowly. Theorists thought highly of Qing Fu instead of Tang Fu, they dissatisfied and criticized the coarse writing of Tang Fu. This phenomenon became the main feature of Fu theory at that time.By GuangXu time, study on Fu selection and Fu theory were pushed on another peak. Summary of literature was carried out completely. Theorist made a reasonable selection and advocated "Using classical expression as well as rhymed expression" . Liu-xizai 《Fu Gai》 stand for classical Fu style of that time. On the contrary in QianJia and XianTong time, he opposed Tang更多还原