论“徐庾体”的新变
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摘要
梁陈时期,骈文发展呈现鼎盛局面,出现了被尊称为骈文典范的"徐庾体"。"徐庾体"之所以能成为骈文史上的高标,主要在于创作上的求新求变,这种新变表现在其形式上达到了骈文文体对于对仗、辞藻、用典、声律等各种形式之美的最高要求,同时亦兼顾了文本内容的表达,开创了文质并重的骈文风格。而"徐庾体"新变的原因,与文体交叉渗透与"小学"的发展、文坛"新变"之风的倡导以及南北文风的融合等因素密切相关。"徐庾体"的新变,对于骈文文风的改革有承前启后之功,在中国古代骈文发展史上影响深远。
Pian Wen(rhythmical prose characterized by parallelism and ornateness) achieves its great prosperity in the period of the Liang and Chen dynasties when Xu Ling and Yu Xin's style appeared as the paradigm of the prose. The reason why the style becomes the model comes from their innovation in prose creation. By such a style,the from beauty of Pian Wen in antithesis,rhetoric,allusion,rhythm,etc reaches the highest standard while the content expression is given consideration,thus creating a style in which both the content and text are attached equal importance. The reasons for the new change of Xu Ling and Yu Xin's style are closely related to the infiltration of literary forms,the fashion of pursuing reform in the literary field at that time and the fusion of the writing style in the north and south. The innovation of Xu Ling and Xu Xin's style serves as a link between past and future and has profound influence in the history of Pian Wen in ancient China.
Pian Wen(rhythmical prose characterized by parallelism and ornateness) achieves its great prosperity in the period of the Liang and Chen dynasties when Xu Ling and Yu Xin's style appeared as the paradigm of the prose. The reason why the style becomes the model comes from their innovation in prose creation. By such a style,the from beauty of Pian Wen in antithesis,rhetoric,allusion,rhythm,etc reaches the highest standard while the content expression is given consideration,thus creating a style in which both the content and text are attached equal importance. The reasons for the new change of Xu Ling and Yu Xin's style are closely related to the infiltration of literary forms,the fashion of pursuing reform in the literary field at that time and the fusion of the writing style in the north and south. The innovation of Xu Ling and Xu Xin's style serves as a link between past and future and has profound influence in the history of Pian Wen in ancient China.
引文
[1][清]孙梅,著.李金松,校点.四六丛话[M].北京:人民文学出版社,2010.
[2][南朝梁]刘勰,著.范文澜,注.文心雕龙注[M].北京:人民文学出版社,1978.
[3][南朝]钟嵘,著.周振甫,译注.诗品译注[M].北京:中华书局,1998.
[4][南朝]徐陵,撰.许逸民,校笺.徐陵集校笺[M].北京:中华书局,2008.
[5][南朝]庾信,撰.倪璠,注.庾子山集[M].北京:商务印书馆,1938.
[6][清]李兆洛,选辑.陈谷兰,吴楚生,校点.骈体文钞[M].长沙:岳麓书社,1992.
[7]陈松雄.齐梁丽辞衡论[M].台北:文史哲出版社,1986.
[8]王水照.历代文话:第九册[M].上海:复旦大学出版社,2007.
[9][唐]李延寿.南史:卷三十四[M].北京:中华书局,1975.
[10][清]许梿,评选.黎经诰,笺注.六朝文絜笺注[M].上海:上海古籍出版社,1982.
[11][唐]姚思廉.陈书:卷二十六[M].北京:中华书局,1972.
[12][清]永2).四库全书总目:卷一四八[M].北京:中华书局,1965.
[13][唐]李延寿.北史:卷八十三[M].北京:中华书局,1974.
[14][清]蒋士铨.评选四六法海[O].清同治十年(1871年)藏园刻本.
[15][南宋]晁公武,撰.孙猛,校证.郡斋读书志校证:卷四[M].上海:上海古籍出版社,2011.
[16]刘师培,著.舒芜,点校.论文杂记[M].北京:人民文学出版社,1998.
[17][南朝梁]萧子显.南齐书:卷五十二[M].北京:中华书局,1972.
[18][唐]魏征,令狐德棻,撰.隋书:卷七十六[M].北京:中华书局,1973.
[19]黄侃.文心雕龙札记[M].武汉:武汉大学出版社,2013.
[20]刘师培,著.方仕国,点校.国学发微(外五种)[M].扬州:广林书社,2013.
[21]张仁青.骈文学[M].台北:文史哲出版社,1984.
[22][南宋]叶适.习学记言:第三十三卷[M].上海:上海古籍出版社,1992.
[23][清]沈德潜.古诗源:卷十四[M].北京:中华书局,1963.
[24]陈寅恪.金明馆丛稿初编[M].上海:上海古籍出版社,1980.
[25]王仲镛.徐庾文学评议[J].四川师范大学学报,1995(3).
(1)此篇数参见徐陵《徐陵集校笺》(中华书局2008年版)、庾信《庾子山集》(商务印书馆1938年版)两本文集的收录情况。
(1)此处参见钟涛《六朝骈文形式及其文化意蕴》(东方出版社1997年版)一书中第83页的表格。
(1)相间指每句内的节奏点上的字平仄顺序相反,相对指一联内出句和对句节奏点上的字要求平仄相反,相粘指几联对句中的上联末句韵脚与下联首句韵脚的字平仄要相同。
(1)通常说的“小学”,是以文字学、音韵学、训诂学为基本内容的。明确以“小学”指称文字、音韵、训诂之学,是北宋欧阳修《崇文总目叙释·小学类》一文。此处参见胡奇光《中国小学史》(上海人民出版社2005年版)一书中第2页的论述。
(1)钱钟书在《管锥编》中说:“析之以理,复动之以情……彩藻华缛而博辩纵横,譬之佩玉琼琚,未妨走趋;隶事工而论事畅。后世古文家攻击骈文,骈文家每以此篇为墨守之带若堞焉。”此处参见钱钟书《管锥编》(中华书局1986年版)第4册中第1473页的论述。
[2][南朝梁]刘勰,著.范文澜,注.文心雕龙注[M].北京:人民文学出版社,1978.
[3][南朝]钟嵘,著.周振甫,译注.诗品译注[M].北京:中华书局,1998.
[4][南朝]徐陵,撰.许逸民,校笺.徐陵集校笺[M].北京:中华书局,2008.
[5][南朝]庾信,撰.倪璠,注.庾子山集[M].北京:商务印书馆,1938.
[6][清]李兆洛,选辑.陈谷兰,吴楚生,校点.骈体文钞[M].长沙:岳麓书社,1992.
[7]陈松雄.齐梁丽辞衡论[M].台北:文史哲出版社,1986.
[8]王水照.历代文话:第九册[M].上海:复旦大学出版社,2007.
[9][唐]李延寿.南史:卷三十四[M].北京:中华书局,1975.
[10][清]许梿,评选.黎经诰,笺注.六朝文絜笺注[M].上海:上海古籍出版社,1982.
[11][唐]姚思廉.陈书:卷二十六[M].北京:中华书局,1972.
[12][清]永2).四库全书总目:卷一四八[M].北京:中华书局,1965.
[13][唐]李延寿.北史:卷八十三[M].北京:中华书局,1974.
[14][清]蒋士铨.评选四六法海[O].清同治十年(1871年)藏园刻本.
[15][南宋]晁公武,撰.孙猛,校证.郡斋读书志校证:卷四[M].上海:上海古籍出版社,2011.
[16]刘师培,著.舒芜,点校.论文杂记[M].北京:人民文学出版社,1998.
[17][南朝梁]萧子显.南齐书:卷五十二[M].北京:中华书局,1972.
[18][唐]魏征,令狐德棻,撰.隋书:卷七十六[M].北京:中华书局,1973.
[19]黄侃.文心雕龙札记[M].武汉:武汉大学出版社,2013.
[20]刘师培,著.方仕国,点校.国学发微(外五种)[M].扬州:广林书社,2013.
[21]张仁青.骈文学[M].台北:文史哲出版社,1984.
[22][南宋]叶适.习学记言:第三十三卷[M].上海:上海古籍出版社,1992.
[23][清]沈德潜.古诗源:卷十四[M].北京:中华书局,1963.
[24]陈寅恪.金明馆丛稿初编[M].上海:上海古籍出版社,1980.
[25]王仲镛.徐庾文学评议[J].四川师范大学学报,1995(3).
(1)此篇数参见徐陵《徐陵集校笺》(中华书局2008年版)、庾信《庾子山集》(商务印书馆1938年版)两本文集的收录情况。
(1)此处参见钟涛《六朝骈文形式及其文化意蕴》(东方出版社1997年版)一书中第83页的表格。
(1)相间指每句内的节奏点上的字平仄顺序相反,相对指一联内出句和对句节奏点上的字要求平仄相反,相粘指几联对句中的上联末句韵脚与下联首句韵脚的字平仄要相同。
(1)通常说的“小学”,是以文字学、音韵学、训诂学为基本内容的。明确以“小学”指称文字、音韵、训诂之学,是北宋欧阳修《崇文总目叙释·小学类》一文。此处参见胡奇光《中国小学史》(上海人民出版社2005年版)一书中第2页的论述。
(1)钱钟书在《管锥编》中说:“析之以理,复动之以情……彩藻华缛而博辩纵横,譬之佩玉琼琚,未妨走趋;隶事工而论事畅。后世古文家攻击骈文,骈文家每以此篇为墨守之带若堞焉。”此处参见钱钟书《管锥编》(中华书局1986年版)第4册中第1473页的论述。