汉魏六朝散体赋中“乱”之沿革

Evolution of Luan Ci in Santi Fu in the Han,Wei and Six Dynasties

汉魏六朝散体赋中的乱辞承自屈原、宋玉作品,并在功能、形式、称名上有所变革,体现了诗、骚、赋三体之交融。在功能上,屈、宋作品之乱辞,并非皆为归总篇旨,汉魏六朝散体赋中的乱辞,亦除归总篇旨外,还有画龙点睛、提升境界等功能;在形式上,屈、宋作品乱辞非皆"变章乱节",汉魏六朝散体赋中的乱辞,则多采用与主体部分不同的骚体句,有的在句式和语言风格上还出现了新变;在称名上,汉魏六朝时期一些赋卒章有"歌曰""诗曰""辞曰""颂曰""已矣哉"等,与"乱曰"名异而实同。

Luan Ci in Santi Fu in the Han,Wei and Six Dynasties inherits from the writings of Qu Yuan and Song Yu,and develop in function,form and name.In function,Luan Ci in the writings of Qu Yuan and Song Yu are not all to summarize the purpose.Luan Ci in Santi Fu in Han,Wei and Six Dynasties has functions of bring out the crucial point and upgrading the artistic conception besides summarizing the whole work.In form,Luan Ci in the writings of Qu Yuan and Song Yu does not act to change the format,but most of Luan Ci in Santi Fu of the Han,Wei and Six Dynasties use sentences of Sao style that are different from the main body of the work.Some even show changes in sentence and diction.In name,there are Geyue,Shiyue,Ciyue,Songyue and Yiyizai in the last chapter in some of the Fu of the Han,Wei and Six Dynasties,which are named differently but actually amount to Luanyue.