论汉大赋的敛藏

On the Rhetorical Device of Cang in Grand Fu of the Han Dynasty

自刘勰《文心雕龙·诠赋》以后,历代研究者都将铺陈、外放、夸饰等看做是汉大赋最核心、最突出的特征,而忽略甚至完全不提它的敛藏。事实上,敛藏与铺陈相辅相成,也是汉大赋的重要艺术特征。从敛学、寓经,到各种文本中共同呈现出来的蓄势结构、讽谏方式与特定的修辞格,无不体现了汉大赋的敛藏性。这一特性是汉代赋家在吸收从先秦隐语到荀卿、宋玉赋所谓"家言"一派的"藏"的艺术传统的基础上形成的。用其来表达代表"王言"典范的"古诗之义",也就必然对含蓄蕴藉的诗教精神作出新的拓展。

With the appearance of 'Interpreting fu or Rhyme-prose' in Liu Xie's Wen Xin Diao Long, fit scholars of the descending generations all take it for granted that fu is featured with such de-vices as puchen (expatiation), waifang (unfolding) and huashi (hyperbole), completely neglec- ting liancang (reserving or concealing) , which, being complementary to expatiation, is actually a very important rhetoric device of fu. Such features as reserving and concealing are ready to present themselves among the most important artistic features of fu. The implicit characters of fu of the Han Dynasty are, without exception, reflected in such as the rhetorical device of cang, al- legory, the implicit structure of texts of different kinds, admonish and remonstrance. What is re- garded as fu's character is but an inheritance and development from the argot of the pre-Qin Dy- nasty, and the reversed and concealed quality of jiaγan (common speech) of Xun Zi and Song Yu School. When fu is used to give the moral teaching embodied in wangyan (king's speech) , the concealing quality is thus further and much developed.