【摘要】 "骚"有扰动不安之意。拟《骚》而作的骚体赋发展至北宋诸家,从套用骚体赋基本句型"兮"字句,到拉长句子削弱其抒情意味,不仅变为散体意味更强的说理句式,更以直抒胸臆的浅切表达取代了"兮"字句承载的扰动不安的骚人旨趣。宋人好论之风强化了"泛文化"的倾向,他们在赋中说理议论,不时加入序言破体为文,骚意渐失。除句式和内容上的改变,宋人更以清晰的理路驾驭骚体赋,短章巧制,结构俨然,同时确有所指,与《骚》杂乱无章,呼天抢地迥异。骚体本质上扰动不安的穷愁也渐为宋人平和超然的内敛态度取代。北宋末,李纲以适意旷达的人生哲理消解骚意牢骚之情,终于完成了北宋宋祁、苏轼、苏门、李纲等人对骚体赋的变轨之途。更多还原

【Abstract】 Sao has a meaning of disturbing. Sao-style Fu by imitating Sao had been from applying sentences with Xi to longer sentences which weakened lyricism until the Northern Song Dynasty. It not only pursued prosier logical sentence patterns but applied the prosaic style to replace the purport of disturbing expression by the sentences with Xi in Sao. Being keen on argument, literati in Song Dynasty strengthened the tendency of Generalized Culture by reasoning, discussion and sometimes prefaces which resulted in transferring Sao to prose and losing of the meaning of Sao. In addition to transformation of syntax and content, literati in Song Dynasty wrote Sao-style Fu with more lucid thoughts and rigorous structures as well as shorter texts which were definitely different from chaos and indignation of Sao. By the end of the Northern Song Dynasty, Li Gang eliminated the emotions of disturbing in Sao with unrestrained and leisured life philosophy which completed the transformation of Sao-style Fu by Song Qi, Su Shi, Disciples of SuShi, and Li Gang in the Northern Song Dynasty.更多还原