【摘要】 赋体自《骚》体演化为大赋、骈赋直到律赋,屡变愈下,及宋人为之,鲜能追踵前代,唯于唐代律赋之后开创文赋一体,对于赋体源流递变的考察而言,也是不可或缺的历史阶段。欧阳修作为宋代诗文革新的领袖,其赋作足以影响一代风气,尤于体制源流,典型地反映宋赋的新变。欧阳修赋作24篇,可以确定其中官题赋11篇为律赋,《黄杨树子赋》为骈赋,《秋声赋》为文赋,《哭女师》《述梦赋》为骚体赋,《螟赋》为荀赋,唯无大赋继承。其他诸篇杂用诸体句式,未可指明一体,总体上由体物言情变为即物议论,赋题既小,且为短制,受唐宋古文写作的影响,具有泛文赋的倾向。这在一定程度上表明赋体的演化,延续其脉,但缺乏赋之一体的严谨传承与认真创制,显示赋体的衰微。更多还原

【Abstract】 Ouyang Xiu created 24 Fus in total. Among them,there were 11 pieces of Rhymed Fu,including Official Topic-Given Fu and one piece called Fu of Yellow Poplar Wood was Pian Fu. Except Prosaic Fu like Fu of the Sound of Autumn,Sao-style Fu like Fu of a Weeping Woman and Fu of Narration of a Dream,Xun-Style Fu like Fu of Bollworm,there was no style of Grand Fu of the Han Dynasty in his creative works.At the same time,the theme was narrowed and the length was short. Furthermore,with the influence of prosaic writing style in the Tang and Song dynasties,Ouyang Xiu’s Fus had a tendency of the generalization of prosaic Fu,to some extent,which represented the innovation of the style of Fu. However,it also reflected the absence of rigorous inheritance of the literary form which apparently manifested the decline of Fu.更多还原