汉魏六朝散体赋中“歌曰”之源头与流变

汉魏六朝散体赋中的"歌曰"体现了对屈原、宋玉赋的沿革。渲染音乐情境的"歌曰"源于《招魂》《大招》中对音乐场面的描摹,并在乐器、歌舞题材赋中成为一种创作模式,且渐有作者情志之寄托;对话体及代言体的"歌曰"源自《讽赋》《登徒子好色赋》,其作用在于抒写主人公心志和实现赋中角色的互动,这类"歌曰"往往有较为明显的角色感,南朝宫廷赋中则出现了代言女性心志而无角色感,使赋中情境与抒情主人公相融无间的"歌曰";以"歌曰"、"诗曰"、"谣曰"、"重曰"等形式出现的双重乃至多重总领心绪语是由屈原赋中"重曰"、"少歌曰"、"倡曰"、"乱曰"等发展而来,南朝假设古人作赋情境之赋,也可视为对屈赋双重或多重总领心绪语创作模式的延续。

Source and Evolution of Ge Yue in San Ti Fu in the Han, Wei and Six Dynasties

Ge Yue in San Ti Fu in the Han,Wei and Six Dynasties reflected the evolution of the writings of Qu Yuan and Song Yu.Ge Yue,serving as the foil to the music,came from the depiction of music scene in Zhao Hun and Da Zhao,became a kind of writing pattern in the Fu of instrument,song and dance,and gradually expressed the emotions of the writer.Ge Yue,serving as dialogue and representation,came from Feng Fu and Deng Tu Zi Hao Se Fu,expressed the mind of the protagonist and carried out the interaction of the roles in the writings.This kind of Ge Yue tended to obviously show the feelings of the roles,but in the court Fu of the Southern Dynasty,Ge Yue represented the female’s mind without the feeling of the roles,and merged the protagonist’s feelings into the scene of the writing.The double and multiplex summaries in the forms of Ge Yue,Shi Yue,Yao Yue,Chong Yue and so on,evolved from Chong Yue,Shao Ge Yue,Chang Yue,Luan Yue,etc.The Fu of the Southern Dynasty,setting a case of the ancient writing Fu,also could be regarded as the continuation of the writing mode of the double and multiplex summaries of Qu Yuan’s.