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广东外语外贸大学中国语言文化学院,广州,510006
Published:2006,
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[1]陈桐生.“劝百讽一”发微[J].济南大学学报(社会科学版),2006(04):43-46+91-92.
CHEN Tong-sheng. To Probe into “Quan Bai Feng Yi”. [J]. Journal of University of Jinan(Social Science Edition) (4):43-46(2006)
[1]陈桐生.“劝百讽一”发微[J].济南大学学报(社会科学版),2006(04):43-46+91-92. DOI:
CHEN Tong-sheng. To Probe into “Quan Bai Feng Yi”. [J]. Journal of University of Jinan(Social Science Edition) (4):43-46(2006) DOI:
从先秦到西汉时期
人们普遍认为美刺讽谏是文艺的根本功能。西汉时期的辞赋创作
就是以讽谏文艺观作为指导思想。司马相如生活在汉家走向盛世的凯歌声中
凭借诗人对时代精神的特殊敏感
他意识到大汉盛世正向他走来
为此他创作了歌颂大汉天子声威和汉家盛世气象的《子虚赋》、《上林赋》
而他在理性上所接受的又是讽谏艺术观
这种文学观念使他在大赋结尾之处加上托讽之笔
由此形成汉赋“劝百讽一”的典型艺术结构。汉赋“劝百讽一”现象
反映了文艺理论建设落后于创作实践的窘困。直到东汉
班固才在《两都赋序》中提出可以用汉赋来润色鸿业的文艺新观念。
From Pre-Qin to West-Han
Mei Ci Feng Jian was taken for as the basic literary function
By way of which the production of Ci and Fu in West-Han was guided.Sima Xiang-ru lived in the stage of ups of Han
he produced Zi Xu Fu and Shang Lin Fu to sing for Han’s prosperity.However
he reasoningly accepted the view of feng and Jian Literature.So the typical literary structure-Quan Bai Feng Yi came into being
which reflected such a predicament as that the literary theory dropped behind the producing practice.Till East-han
Ban Gu wrote Liang Du Fu Xu
in which
he put forward a new kind of literary view.
劝百讽一司马相如汉赋
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