柳宗元骚体文命题特点研究

Study on the Titling Attributes of LIU Zongyuan's Sao-style Essays

传统的骚体赋风格上多模仿《离骚》中的句法,内容上则常以屈原的语气为说话人来表达作者的内心感情,这些作品中一致的特色除了风格都来自《楚辞》之外,其题目也必然带有"赋"字,中规中矩。而骚体文可说是在正宗骚体赋的基础上翻新出奇,再创高峰。其关键不在风格的改变,而在其题目的创新。骚体文的题目不含"赋"字,柳宗元的十篇作品就是一种典型。其题目或直接模仿其源流——《楚辞》篇章;或从《离骚》的抽象概念中抽出元素,加以拟人化和道德化;或化用前人骚体赋之题材,加以变化;也有直接截取当时发生的时事为题或以民间习俗为题,变化万端,不可捉摸,展现出他在骚体文这一辞赋的次文类中的非凡成就。

Traditional Sao-style fu refers to literary pieces that imitate the style of the 'Li sao'(Encountering Sorrows). In terms of content, the authors of these works utilize Qu Yuan as a persona to express themselves and their titles all contain the word 'fu.'Although the Sao-style essay developed from the Sao-style fu, it is much more newfangled and flamboyant. The critical difference lies in the creativity of its titles, not its style. Liu Zongyuan's Sao-style essays that do not contain the word 'fu' are typical of this branch of the fu. The titles of his essays either come from the imitation of the titles from the Chu ci pieces or extracting conceptual elements from the 'Li sao' through personification and moralizing. Sometimes, Liu modifies the content of earlier Sao-style fu pieces. Sometimes, he incorporates contemporary issues or folk customs into his works. His techniques, extremely innovative and colorful, demonstrate his outstanding achievements in this subgenre of the fu.