汉大赋讽颂主题的变迁与天子身份的二重性

The Thematic Transformation from Satire to Praise in Han Fu and the Duality of the Emperor’s Identity

汉赋批评中的“铺采摛文”与“曲终奏雅”理论涉及天子身份的二重性,“铺采摛文”与天子作为国家政权的象征符号有关,其表示的是政权必须展示其宏富博丽的一面;“曲终奏雅”则与天子作为一个性化的主体有关,其表示的是个人必须要有一定的道德修养。西汉时期的“讽谏说”单独从天子私性质方面的个人德行出发来认识汉赋的结构与价值,从而得出了“劝百讽一”的僵化印象。而东汉时期随着天子公身份的不断强化与凸显,私身份被遮蔽掩盖,与此相应,大赋的主题亦发生由讽谏到颂美的变化。

“The figured language”and“particularly brilliant in the ending”of Han Fu criticism are related with the duality of emperor's identity,for“the figured language”is related with the emperor as the symbol of the empire,which means that the regime must show its magnificence,while“particularly brilliant in the ending”is related with the emperor as an individual subject,which means a person must have moral integrity.The allegorical theory in Western Han Dynasty understood the structure and value of Han Fu only from the personal virtue of the private identity of the emperor,and thus got the rigid impression of“encouraging most but satirizing the one”.However,in Eastern Han Dynasty,with the continuous strengthening and highlighting of the public identity of the emperor,private identity was covered up.Accordingly,the theme of Da Fu changed from satire to praise.