东汉辞赋批评的两组线索

The Two Main Lines of the Ci Fu Criticism in the Eastern Han Dynasty

东汉辞赋批评有两组非常重要的线索。一是创作思维和意图层面的讽谕、讽谏思维和"宣汉""颂今"意识。讽谕指向文士不遇之情的抒发,讽谏指向对帝王不当作风的劝谏,均是委婉含蓄的政治写作艺术。"宣汉""颂今"意识则是到东汉才明确发展出来的一种歌颂当今王权的意识,是大一统思想和经术意识加强的结果。二是审美批评层面的"弘丽温雅"风格论和"香草美人"系统。前者既是班固对屈原和司马相如作品风格的总结,也是辞赋采取密集象类式铺陈的结果,是"丽以则"的美学呈现。后者是一套严格指向政治道德隐喻的语言象征系统,在理论上是对"比德"说和"赋比兴"的完善,在创作上是对《诗经》、《楚辞》和汉赋政治道德隐喻实践的总结。这两组线索既是历史上理论批评的延续和发展,也是辞赋创作实践在东汉的总结与升华。

Ci Fu criticism in the Eastern Han Dynasty had two main lines,which one was the allegory,suggestive irony and the“praising great Han Empire”concept in the level of creative thinking and creative intention.The allegory and the suggestive irony were an art of writing about emperor politics with the euphemism and tender tone,and the former was an expression of the politics depression,the latter was to admonish the emperor when he made a larger mistake.“Praising great Han Empire”concept was the consequence of the“all-in-one”thought and“worshiping the Confucian classics”ideal being gradually intensified in the Eastern Han Dynasty.And the other was the style theory about “great,beauty and grace”and the system theory of“perfumed grass and beauty”in the level of aesthetic criticism.Being a total writing style of Qu Yuan and Sima Xiangru summarized by Ban Gu,the former was an aesthetic presentation of the writing demand with gorgeous but not excessively tone and an inevitable consequence of Ci Fu;s elaborate identity with dense image and genre.Being a subtle language symbol system with metaphors about politics and ethics,the latter was a theory improvement based on the“ethics metaphor”and the methods of“Fu,Bi,Xing”and writing summery based on the metaphor practices of The Booh of Songs,Chuci and Han Fu.These two main lines was an orderly succession and development in the historical theory criticism and a summery about the improvement of Ci Fu creation in the Eastern Han Dynasty.