陆机《文赋》“浏亮”兼具声色二义说——兼论中国古代文论中“听声类形”的通感批评

On Lu Ji's Concept of Audible Meaning as a Form of Synesthetic Criticism

唐代李善以来,陆机《文赋》"浏亮"一词被释为"清明"、"清畅明朗"。有的学者认为其所指是魏晋"新体赋"。本文认为"浏亮"义同"嘹亮",在当时被用来形容声音的高远嘹亮。陆机不只用它来形容赋的音韵嘹亮,而且藉由"听声类形"、"心想其状"的通感方式,兼指赋的辞藻铺排、文采富丽。"体物而浏亮"是陆机心目中赋的理想风貌。毫无疑问,具有这种风貌的,当首推汉代的体物大赋。陆机高度肯定左思大赋作品《三都赋》,也可以印证这一结论。

Lu Ji＇ s term of ＂liuliang＂ in A Treatize on Rhapsody （Fu） had been interpreted since Li Shan in the Tang Dynasty as ＂clear and bright＂ or ＂lucid,＂ although some scholars take it as referring to a new mode of writing rhapsody （＂fu,＂ rhymed prose） in the Wei and Jin Dynasties. In this paper, I argue that ＂liuliang＂ means ＂resonant,＂ which was then used to describe the high and loud quality of sound. The term was used by Lu Ji to describe not only the loudness of the sound quality in ＂fu＂ but also the rhetoric and beautiful style in its diction as the words might evoke through synesthesia ＂the audible form of the word＂ and ＂thinking of the shape in our mind. ＂ Lu Ji claimed that ＂describing objects with loud sounds and beautiful language＂ to be one ideal characteristic of ＂fu,＂ and obviously ＂the Grand Fu＂ （ ＂da fu＂ ） in I-Ian Dynasty could be the representative genre, which could be illustrated by Lu Ji＇ s praise for Zuo Si＇ s ＂A Rhapsody on Three Capitals＂.