赋体“尚气”论

The“Shang Qi”Theory of Fu Style

赋体“尚气”,源自“文气论”。魏晋六朝论赋着眼赋家才性,唐宋金元注重赋家修养,此皆赋体“尚气”的外在观照。明人多言声律,触及赋体本身,清人本诸创作,进而细化完善,实现“以气论赋”由赋家回归赋体。而认识转变的主因,在于辨体、尊体意识的兴起。赋体“尚气”不惟铺陈大赋,抒情骚赋、四六骈赋、说理文赋乃至科举律赋,皆主“尚气”。赋中之“气”落实具体创作,本诸语用考量,虽体制不同,然大体不离散语表达、句式调整、虚词运用、声韵联绵。而“气”之微妙,则须吟咏诵读,方可体味。诵赋不惟提升气度学养,亦为成名手段、传播媒介。赋之创作,才学、气韵兼备,方为佳构,为人传诵,遂成名篇。这是赋体“尚气”的内在逻辑,也是后人学赋的案前宝鉴。

The“Shang Qi”theory of Fu style derived from the“Wen Qi”theory.Wei,Jin and Six Dynasties paid attention to the talent of Fu while Tang,Song,Jin and Yuan Dynasties paid attention to the cultivation of author,which is the external care of Fu style.The people of the Ming Dynasty spoke many words and rhythms,touching on the body itself,and the people of the Qing Dynasty made various creations,and then refined and perfected them,so as to realize the return of the Fu from the author to the body itself.The main reason for the change in cognition lies in the rise of the awareness of distinguishing and respecting the body.The“Shang Qi”theory of Fu style not only lays out great fu,but also lyric and Sao Fu,four or six parallel fu,reasoning and literary fu,and even imperial examination law fu.The“Qi”in Fu's implementation of specific creations is based on various pragmatic considerations.Although the systems are different,they generally do not discrete language expression,sentence adjustment,use of function words,and rhythm.And the subtlety of“Qi”must be recited and read before one can appreciate it.Reciting Fu is not only to enhance the bearing and academic cultivation,but also to become a means of fame and a medium of communication.The creation of Fu has both talent and rhythm,and it is a good composition.This is the inner logic of the“Shang Qi”theory of Fu style,and it is also a treasure before the case for future generations to learn Fu.