本文選題：駢文　切入點(diǎn)：四六　出處：《中國(guó)文學(xué)研究》2017年04期

【摘要】：駢文以句式對(duì)偶為主要特征,辭賦則講究押韻、排偶等,兩者不是同一層次的文體概念,具有層級(jí)性特征。唐宋元明的駢偶之文名為"四六",與辭賦平行發(fā)展,并行不悖。清代的駢偶之文演進(jìn)為"儷體""駢體""駢文"等,多包括講究排偶的辭賦,實(shí)現(xiàn)了對(duì)辭賦的擴(kuò)容。清人既用"駢體""駢文"超越唐宋元明"四六"概念,將詩(shī)詞曲之外的各類駢偶文章,包括辭賦納入其中;又拓展原有"四六"內(nèi)涵,多用之代指"駢體""駢文",辭賦也可納入"四六"文集。但因?yàn)檗o賦不追求四六隔對(duì),明以前"四六"文集不收辭賦,因此清代也有《國(guó)朝駢體正宗》等少數(shù)選本延續(xù)此意。今天,我們籠統(tǒng)地說(shuō)兩者是交叉或平行,都不符合文學(xué)史的事實(shí)。對(duì)它們的關(guān)系梳理,不能拋開(kāi)"四六"演進(jìn)與駢文歷史,不能脫離具體的語(yǔ)境與時(shí)代。
[Abstract]:Parallel prose is characterized by the duality of sentence pattern, while the Fu emphasizes rhyme, arrangement, etc. They are not the same level of stylistic concepts, but have hierarchical characteristics.Tang, Song, Yuan and Ming dynasties, named "four six", parallel to the development of Fu, parallel to each other.In the Qing Dynasty, the parallel prose evolved into "Li body", "parallel style", "parallel prose" and so on.The Qing Dynasty not only used "parallel style" and "parallel prose" to surpass the concept of "four six" in Tang, Yuan and Ming dynasties, but also extended the original connotation of "four or six".Multi-use refers to "parallel style" and "parallel prose", and ci Fu can also be included in the collection of "four or six" texts.But because ci Fu does not pursue four or six separate pairs, before Ming Dynasty, the collection of "four or six" texts did not accept ci Fu, so there were a few selected works such as "the State Dynasty parallel style authentic sect" in the Qing Dynasty to continue this meaning.Today, we generally say that the two are intersecting or parallel, which does not accord with the fact of literary history.To sort out their relations, we can not put aside the evolution of "four six" and the history of parallel prose, can not separate from the specific context and times.
【作者單位】： 湖南師范大學(xué)中國(guó)辭賦研究中心;
【基金】：湖南省教育廳重點(diǎn)項(xiàng)目“清代駢文視域中的桐城派”(17A135)的階段性成果
【分類號(hào)】：I207.22
，

本文編號(hào)：1701312