汉魏六朝俳谐赋初探

A Preliminary Study of Humorous Fu-writing in Wei,Jin and Six Dynasties

两汉大赋为辞赋之主流,而魏晋六朝的俳谐赋为其支流,历来不受文学批评家的重视。大赋惊彩绝艳,旨在讽谏;幽默之赋则文体多变,自嘲嘲人,为抒情之利器。认识幽默赋的创作,应先了解"滑稽"的三层含义,以明其精神源流,由中深入明瞭滑稽幽默之赋具备的俳优语言的特点,以及指桑骂槐,不受道德和传统规范的创作形态。本文将此类赋依照其讽刺对象,分为三类,一为幽默自嘲之赋,以东方朔《答客难》、扬雄《逐贫赋》、左思《白发赋》为例,探讨其特色;二为诙谐讽刺之赋,以王褒《僮约》、鲁褒《钱神论》为中心,分析其风格;三则为纯粹游戏之作,通过对魏晋以降大量的诙谐杂戏之作,如袁淑的《鸡九锡文》类作品的考述,申述其精神。进而对其历史背景、文学技巧展开论述,又在说明俳谐赋的文学史价值。

In the Han Dynasty,the grand-style fu is splendid in style,aiming at advising the emperor. While fu of this lengthy kind represents the mainstream in fu writing,the humorous and satirical fu is only a minor,traditionally ignored by literary critics. It is the latter that can be distinguished into three: one,being various in styles and forms,is humorous and self-criticizing,and effective in expressing writers' complaints and feelings; another is satirical,aiming at specific targets; and the other is playful and amusing without any explicit target. This article is going to make clear their historical settings and literary techniques.