神女赋的流变及其特点初探

On the Rheology and Features of Godness Fu

以神女为题材的神女赋滥觞于屈原《九歌》中的《湘君》、《湘夫人》、《山鬼》,兴盛于汉末三国,曹植《洛神赋》是其巅峰之作,六朝后渐趋消亡。从笔法上看,神女赋文辞华美,对女性神情外貌的描写细致入微,颇多传神之笔;从结构和内容上看,诸多神女赋大都遵循"遇神女"——"描写神女"——"人神交接不成"这样一个既定的格式;从主题看,神女赋一方面体现了主人公遵从儒家伦理准则不为女色诱惑而动的品质(显性意义),另一方面体现了赋之作者壮志难酬、郁郁寡欢难以施展政治抱负的心理(隐性意义)。

The source of Godness Fu is Xiangjun、Xiangfuren、Shangui,which are the parts of Qu Yuan＇s Jiuge.Godness Fu used goddess as subjects,which was flourising in the last years of Han Dynasty and The Three Kingdoms.Luoshenfu,written by Cao Zhi,was the peak work.It died out step by step after Northern and Southern Dynasties.In the aspect of the writing technique,the language of Godness Fu is magnificent and the description of the female＇s appearance and expression is detailed.In the aspect of the structure and contents,most Godness Fu almost obeyed the established rule,namely meeting goddes——describing goddess—— searching for goddess but failed.In the aspect of the theme,Godness Fu embodied this character that the protagonist complied with the ehics of the Confucianists instead of shaking by the temptation of the woman＇s charms（dominant content） on the other hand,it embodied the author＇s psychology that it was hard to achieve the political ambition（recessive content）.