本文關(guān)鍵詞：程廷祚《騷賦論》研究　出處：《湖北民族學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

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【摘要】：清代賦論是自漢代以來兩千余年古代賦論發(fā)展史上成果最為顯著的繁榮時期,是古代賦論的集大成者。這一時期涌現(xiàn)出了一大批前所未有的賦話著作和具有時代特色的論賦專文,這些論賦文著不僅匯聚了自漢代以來所有的賦論遺產(chǎn),而且反映了賦論家們自己的研究成果和賦論思想,構(gòu)成了具有總結(jié)性和系統(tǒng)性的賦論成果,是中國古代賦論的發(fā)展趨勢所在。賦話著作如《歷代賦話》《雨村賦話》等,論賦專文如程廷祚的《騷賦論》、湯聘的《律賦衡裁余論》等。而《騷賦論》作為古體派賦論的代表作之一,是清代出現(xiàn)較早的一篇具有較強理論性的賦體專論,具有不可忽視的研究價值。本論文第一章對程廷祚和《騷賦論》的相關(guān)的情況作簡要介紹,并對《騷賦論》進(jìn)行了版本考訂。第二章主要是對《騷賦論》上篇中論賦體起源及詩騷賦的異同的觀念進(jìn)行梳理和認(rèn)知。在上篇中,程廷祚明確提出了賦“始乎宋玉”,認(rèn)為“詩為騷、賦之大原”,對班固“賦者古詩之流”的說法提出了質(zhì)疑。他的觀點肯定了宋玉在賦史上的地位,對歷來騷賦混淆不清的情況進(jìn)行了澄清。第三章著重對《騷賦論》中篇中的賦史思想進(jìn)行總結(jié)和評判。他比較正確地論述了漢魏六朝賦的發(fā)展演變,但對唐代律賦進(jìn)行了全盤否定,繼續(xù)重申“唐以后無賦”,是賦論發(fā)展道路上的倒退。第四章對《騷賦論》下篇中的賦論思想進(jìn)行總結(jié)和辨析。在下篇中,他對賦家追求唯美欲麗、忽略諷諫之意的創(chuàng)作風(fēng)格表示不滿,同時調(diào)整揚雄的“麗則”觀,認(rèn)為創(chuàng)作應(yīng)該“先理后詞,取則戒淫”,他企圖重建“麗則兼?zhèn)洹钡奈膶W(xué)品格,可以說是從理論上解決了“麗”“則”的矛盾,值得肯定。但這種折衷權(quán)衡的原則雖符合賦體創(chuàng)作,卻缺乏新意。第五章客觀評價《騷賦論》在清代及當(dāng)今賦學(xué)領(lǐng)域的價值和影響。價值主要體現(xiàn)在提高了漢大賦的文學(xué)史地位,為后人學(xué)習(xí)提供了依據(jù)和借鑒,樹立“麗澤兼?zhèn)洹钡奈膶W(xué)典范等方面;同時它代表了古賦派理論思想,對豐富清代賦論成果,促進(jìn)了古代賦論繁榮起著積極影響。
[Abstract]:The Fu theory of Qing Dynasty is the most remarkable prosperous period in the history of ancient Fu theory since the Han Dynasty more than 2,000 years. This period saw the emergence of a large number of unprecedented writings on Fu and special articles with characteristics of the times, which not only collected all the legacies of Fu theory since the Han Dynasty. Moreover, it reflects the research results and thoughts of Fu theorists themselves, and constitutes a summative and systematic achievement of Fu theory. It is the development trend of the ancient Chinese Fu theory. Fu works such as Fu dialect of the past dynasties > Fu dialect of Yucun, etc., such as Cheng Tingzuo's "Sao Fu Theory". As one of the masterpieces of the Fu theory of the ancient style, it is a relatively early theory of Fu monograph that appeared in the Qing Dynasty. The first chapter gives a brief introduction to Cheng Tingzuo and Sao Fu. The second chapter is mainly about the concept of the origin of Fu and the similarities and differences of poetic Sao Fu in the first chapter. In the first chapter. Cheng Tingzuo clearly put forward that Fu "began with Song Yu", thought that "poem is Sao, Fu is the big Yuan", raised the question to Bangu "Fu ancient poem stream", his viewpoint affirmed Song Yu's position in the Fu history. The third chapter focuses on summing up and judging the thought of Fu history in the part of "Sao Fu Theory". He correctly discusses the development and evolution of Fu in Han, Wei and six dynasties. However, it is a retrogression on the development of Fu theory. Chapter 4th summarizes and discriminates the thought of Fu theory in the second part of "Sao Fu Theory", and continues to reiterate that "there is no Fu after Tang Dynasty". He expressed dissatisfaction with the Fu family's artistic style of pursuing beauty and neglecting the irony of remonstrance. At the same time, he adjusted Yang Xiong's "Lize" view, and thought that creation should be "to reason before words, and to take them out of prostitution." His attempt to reconstruct the literary character of "both Li and Li" can be said to have solved the contradiction of "Li" in theory, which is worthy of recognition. Chapter 5th objectively evaluates the value and influence of "Sao Fu" in Qing Dynasty and in the field of Fu study. The value is mainly reflected in improving the status of literature history of Han Da Fu, which provides the basis and reference for future generations to learn. Setting up the literary model of "both Lize" and so on; At the same time, it represents the theory of ancient Fu school, which has a positive effect on enriching the achievements of Fu theory in Qing Dynasty and promoting the prosperity of ancient Fu theory.
【學(xué)位授予單位】：湖北民族學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.22

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