汉魏六朝宴饮文学研究
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摘要
汉魏六朝宴饮文学,经历了由发展到繁盛的轨迹,现存有宴饮诗歌1249首,宴饮赋148篇,宴饮文117篇,小说中的宴饮描写在32部中有341则/处；是汉魏六朝文学研究不可或缺的组成部分。研究宴饮文学可探究不同体式宴饮文学的发展轨迹以及不同历史时期宴饮文学的发展脉络,可反观汉魏六朝文学的发展特色,也可窥视汉魏六朝的历史文化风气。
宴饮文学的源头要追溯到先秦：最早的宴饮诗出现在《诗经》的雅颂中,以礼乐文化精神为承载,具有贵族化的格调和典雅庄重的诗风；先秦宴饮文则主要以铭、诰、祝为主,以明德颂美为旨归；屈原《招魂》中有宴饮内容的描写,则于礼乐文化之外体现出娱乐性与审美性的张扬；小说则在《穆天子传》中有周穆王与西王母人神之宴的描写。
汉魏六朝宴饮文学的发展受到诸多历史文化因素的影响：帝王的提倡和参与是宴饮文学发展的首要动力：门阀士族的兴起则壮大了宴饮文学的创作主体阵营；从汉的大一统到东晋南朝,地域文化的变迁影响了宴饮文学的风格和规模；园林的兴起为宴饮文学的创作提供了可兴发情志的优美环境；汉以来渐渐形成的由儒家独尊到儒释道多元并存的思想局面,则使宴饮文学的思想内涵随之发生变动；而建安以来文学的自觉则从文学内部推动了宴饮文学的渐趋繁荣。
汉魏六朝宴饮文学各文体在各时代体现出不同的特征：
汉代宴饮诗20首,多用楚歌,具有丰富的政治内涵：反映从帝王到士子在政治浮沉中的感慨；汉大赋中的宴饮描写讽喻与夸饰并存,而汉代也出现了梁王菟园赋为代表的宴饮小赋14篇,以及描写宴舞的大赋两篇；汉代宴饮文有铭、箴、祝、文诸体共29篇,铭、箴体现出正统规诫的明德载道特征,祝、文则涉及宴饮习俗的文化内容；汉代或托名汉代小说中的宴饮描写共6本21则／处,《燕丹子》体现出宴饮情节在推动故事塑造人物等方面的叙事功用,托名汉代的《汉武帝故事》等小说则把《穆天子传》中出现的人神宴饮情节推向进一步的细致与奇幻。
建安宴饮文学在邺下文人集团的引领下体现出比汉代更高的文学精神价值。建安时,公宴诗之名出现,建安公宴诗有43首,以景物、游戏、女色等内容体现出表现空间的开拓,建安公宴诗重视抒情,反映时人丰富的情感世界,建安公宴诗注重语言之美,体现出文质彬彬的风貌；建安宴饮小赋有26篇,多宴集时同题共作,宴游、咏物为主要题材,讲究情以物迁,反映士人矛盾的情感世界,且兼具文采；建安宴饮相关文21篇,体现以气运文的美学观念,蕴涵着深刻的时间生命意识,文风上则通脱与瀚藻并存。建安小说中的宴饮描写,仅有《列异传》、《笑林》中的只言片语,但也体现出志怪与诙谐的端倪。正始,竹林七贤宴集出现,其饮酒是魏晋名士风度的行为表征,代表了他们不同的生活追求,影响两晋南朝的宴饮生活及士风,竹林名士留存宴饮作品不多,但均是其名士精神的表现。
两晋宴饮文学情形更加复杂：两晋宴饮各体文学发展中,宴饮诗创作繁荣,共有313首。西晋宴饮诗有二百余首,迎来了建安后创作的高潮期,其中公宴诗数量是最多的,有154首,是建安公宴诗43首的三倍多。公宴诗体式也渐趋成熟,就格调而言,西晋公宴诗也表现出与建安不同的颂德称美风貌,是《诗经》礼乐精神的回归。东晋公宴诗,出现了以兰亭雅集为代表的著名文人宴集,留存诗作41首,是先秦至两晋文人宴集创作诗歌数量最多的一次,代表了东晋宴饮诗创作的主体风格,表现出与西晋不同的寄怀山水、体悟玄理的精神旨归。且东晋出现了写酒诗最多的诗人陶渊明,作酒诗有62首,其酒诗“淡”和“真”的风格开一代风气。两晋宴饮赋有60篇,数量多于建安宴饮赋,审美取向上政治教化与审美娱情并存,且辞采华美,表现出多元的发展趋势。两晋宴饮文中,最为突出的是宴饮诗序的出现。两晋宴饮诗序独立为文,且书写性情怀抱,丰富了宴饮文学的创作体式。晋代志怪小说有11本小说中有69则宴饮描写,内容描写奇幻,可分为神与宴饮描写、鬼与宴饮描写、怪与宴饮描写、宴饮异事等题材,丰富了小说中宴饮描写的内容。而晋代志人小说有3本小说中有52条宴饮描写,以记述人的宴饮言、行、事来突显人物风貌,为南朝集大成之作《世说新语》宴饮描写奠定了基础。
南朝宴饮文学随着偏安时局、江南经济富庶、园林的兴起、统治者的提倡、宴集增多而走向繁盛。南朝达到汉魏六朝宴饮诗创作的高潮,宴饮诗创作有786首,其中公宴诗是最多的,有704首,是魏晋公宴诗238首的近三倍；且艺术上娱乐游戏特色更加鲜明,表现公宴诗创作中：以文为戏,有戏笔、限韵、回文、联句、还模拟前人公宴而作诗。抒情性进一步强化,表现为抒情进一步主观化,寄托在景物描写中,造成情景交融的诗境。题材内容方面,山水、咏物有了进一步的开拓,宴饮宫体诗出现并大量创作。语言形式方面,语言穿凿求新、注重声律对偶、且修辞运用更为普遍,表现出唯美化的形式追求。而鲍照创作的酒诗与前代、同时代相比颇具特色。鲍照寒士的出身使他没有社会身份地位、家学素养的束缚,酒诗的创作更加自由,与当时文士酒诗以公宴诗为主相比,鲍照的酒诗创作更加多元,形成的风格更加多样,形成了颇异于时风的俊逸与险俗风格。
南朝宴饮赋有45篇,当时的名家如谢庄、谢眺、沈约、江淹、吴均等都参与了创作,保证了创作的质量。南朝宴饮赋,咏物题材大量出现,注重变幻的画面美的描写,注重抒情,且注重语言修辞及韵致,创作优美精致。南朝宴饮文有35篇,相较于两晋以诗序创作为主,南朝宴饮文体式更加多样,有颂、铭、箴、启、移、序、书、说、论等多种文体,语言更加骈俪化,注重辞采铺排；且创作内容更加丰富多元,可以分为颂德称美文、禁断酒肉文、宴饮娱情文、滑稽俳谐文等四种。
南朝小说中的宴饮描写较前代有了进一步发展。志人小说中宴饮描写有3部127则,其中出现了集前代大成之作《世说新语》,有宴饮描写111则,晋代志人小说中关于魏晋的宴饮描写条则几乎都为其收录。通过这些宴饮描写,作者以审美的角度来由外而内描写人物,从其言谈应对、容止行状到性情怀抱、才德修养,可见魏晋风度之一斑,以及时人品评人物的审美标准,为研究魏晋历史、文学提供宝贵的资料。南朝志怪小说中的宴饮描写数量有7本67则,在艺术表现上,在延续晋代志怪小说的基础上,题材内容有了进一步的创新,鬼怪与宴饮取代神仙宴饮成为主要的题材,其描写通过宴饮突出鬼怪的有情有义,体现出人间化；记载了与晋代不同的宴饮中的异事；且出现了佛教与宴饮的描写,体现出佛教修行与因果报应的思想。
北朝宴饮文学表现出与东晋、南朝不同的文风,创作数量相对较少,有诗歌72首,而其中由南入北作家创作有48首,而庾信就创作有44首；宴饮赋有2篇,宴饮文有5篇,小说则多散佚。北朝宴饮文学,文学取向上有向江左学习的痕迹,且此阶段出现了有南入北的作家庾信,是北朝创作宴饮诗最多的作家,其南北相容的诗风丰富了宴饮文学的表现风格。
汉魏六朝宴饮文学的文化蕴含非常丰富,对后代文学发展有着典范意义。汉魏六朝宴饮文学与礼乐文化有不可割舍的关系,以礼为旨归,一直存在着颂德称美、明德载道的主题,而礼的衰退也推动了宴饮文学的繁荣,宴饮文学本由宴饮中的宴乐发展而来,汉魏六朝宴饮文学中有不少歌、舞、乐的描写；汉魏六朝宴饮文学中保留了丰富的各代饮食习俗和节日习俗的内容；汉魏六朝宴饮文学还可折射出汉以来各代的文学集团创作的盛况,汉魏六朝的文人集团不仅常是宴饮文学创作涌现的前提与动力,亦影响了宴饮文学的审美取向、体式与题材取向；汉魏六朝宴饮文学体现出渐趋发展的娱乐游戏特征：宴饮文学本有娱乐佐兴之用,咏物、声色、神怪等内容,戏笔、俳谐等写法都体现出这一特征。诗酒风流是名士风流的重要表现方式,也是宴饮文学的精神韵致所在。汉魏六朝文人的诗酒风流表现出四种形态：文人聚饮高歌的诗酒雅集,名士疏狂的醉卧高蹈,诗酒风流的逆流——诗酒之会有时会变成风流尽失的名利场,以及闲适高雅的士大夫情怀。
The banquet literature of Han,Wei and Six Dynasties has experienced the track from the development to flourish, which includes about over 1249 poems,149 Fu,117 proses,and 344 pieces of novel in 32 works. That was an integral part of the Han,Wei and Six Dynasties literature,and on the reaserch of the banquet literature in Han,Wei and Six Dynasties,we can make a thorough inquiry of the track of the different style of banquet literature and the different historical periods development context, also to review the characteristics of literary development and see the trend of history and culture of Han, Wei and Six Dynasties.
The source of banquet literature can date back to the Pre-qin. The earliest poem about banquet appeared in Ya and Song in the Book of Songs, which has Etiquette and Music culture, and noble-featured style in Grace and Elegance. The earliest article about banquet were in Zhe, Ming and Zhu, which extol virtue and bear moral. Zhaohun which written by Qu yuan also have the content about banquet which reflecte entertaining and esthetic publicity beyond the Etiquette and Music culture. The novel Biography of Emperor Mu has description about Banquet between the god and humans.
The development of the banquet literature of Han,Wei and Six Dynasties was affected by many historical and cultural factors. The emperor's promotion and participation was the primary driving force. The rise of Aristocratic Nobles strengthened the team of writers who wrote the banquet literature works. From the Han Unification to Eastern Jin's,this regional variation influenced the style and scale of the banquet literature. The rise of private gardens provided a beautiful environment for the creation of the banquet literature. From the Confucian Domination in Han Dynastiy to coexistence of confucianism buddhism and taoism, the ideological Connotation of the banquet literature had changed a lot. the consciousness of literature since Jianan had promoted the banquet literature growing prosperous from the internal of literature.
The style of Literature of the banquet in Han Wei and Six Dynasties reflect the different characteristics:
The banquet poems of Han is 20, most expressed in Chu songs,and has a rich political content:reflected the political ups and downs from the emperor to Scholars. The description of banquet in han da Fu coexists allegory and exaggeration, and there have been the 12 small banquet Fus representive works as 'ode to the Tu park' written by King of Liang. Two pieces of da Fu about the dance on the feast.29 proses about banquet contained Ming, Zhen, Zhu and wenetc. And the Ming and Zhen has the characteristics of orthodox Matilda while the Zhu and Wen involve cultural in the banquet.There are 21 pieces of descriptions of banquet.in 3 novels in the Han Dynasty. The novel "Yan Dan Zi" reflects the feast stories' promoting narrative function by shaping the plot and characters.'The story of the emperor of Han and other novels had promoted the plot of God's banquet into further detail which has appeared in Biography of Emperor Mu.
Jianan banquet literature manifest the higher value of of literature in the guidance of the literature group Jian Ye.In Jianan the name of Public banquet poetry appears, which are 43 poems,and take the scene, games and woman as the main content,reflect the performance of space exploration. Jian.Furthermore Jianan Banquet Poetry were paid great attention to reflect the rich emotional world of people, which have the language-oriented beauty reflecting the gentle character.The small Fu about banquet which has 26 pieces,most set on Banquet in Same Topic, with banquet, chanting as the main theme,and stress emotions migrating inspecific environment,reflect the emotional world of contradictions of the scholars.Jianan articles about banquet have 21 pieces,which embody aesthetic concepts of using Qi to control the writing,imply a profound sense of time and life, co-exist the unconventional and rhetoric. The description about banquet in novel in Jian'an only appeared in 'Lie Yi Zhuan' and 'Xiao lin' in a few words,but also reflects clues of the mystery and witty.In Zhenshi,there appeared the banquets of seven virtuous，characterized by the drinking behavior,on behalf of the pursuit of their different life, affecting the banquet life and ethos of scholars. There has little retention works of 'the seven virtuous' which characterized by the spirit of the celebrities.
The situation of banquet literature in Jin was more complex:In the dvelopment of the different literature styles,the banquet poem development prosperous,which have 313 pomes. There have more than 200 pomes in Western Jin. And the Public banquet Poetry have 154 pieces,which is more than three times of Jianan's 43 pieces of banquet poems. Public banquet Poetry are the four words,and appeared in large numbers style has matured a lot, On the stylistic mode,the Western Jin Dynasty Banquet Poetry also showed a different style of eulogy for morality, which is the "Book of Songs" ritual Spirit. In the Banquet Poetry of the Eastern Jin Dynasty,there have been famous Lanting Group left behind 41 poems, which is the largest number of writing poetry,s ince Pre-qin to Liangjin,represent the main style of east Jin banquet poems, showing a different landscape from the west Jin,with the spirit of understanding the purport Metaphysics as its principal aim. And in the Eastern Jin Dynasty,there appeared Tao yuanming,the poet who wrote the most posems about wine. Tao's drinking poem opened the new generation of culturewith the style of "light" and "true". Compared with Jianan,there are 60 banquet Fu in Jin dynasties co-existed with aesthetic entertainment and political indoctrination, showed a diverse aesthetic trends. The preface of banquet poems in Jin has became a independent stylistics, have the embrace of nature writing, enriche the literary feast creative style. Jin Ghost Stories in 11 pieces has 69 description about banquet, that described the content of fantasy, and can be divided into descriptions of God and the feast, the ghost with the feast description, description of the strange and the feast about strange things,this enriche the description of the contents of the banquet novel. And the zhiren Novels in Jin Dynasty have 52 descriptions in 3 books depicting Humanity, which account of people's words,deeds and things in banquet to highlight the character style of people, lay a Basis for the description about banquet in "Newly Written Down Legends"
Southern Dynasties banquet literature went towards Prosperity with the south economic's prosperity,the rise of landscape and the more prosperous Feast. The banquet literature reached the climax level in Han,Wei and Six Dynasties,and Created 786 poems,and the Public banquet poetry is 704 pieces which is nearly twice the Wei and Jin's 238 poems. In art, the Public banquet poetry with more distinctive features of its entertainment in art, were written for Entertainment with burlesque, limited rhyme, palindrome and bait in the Banquet Poetry, and also simulate the previous verse. They also strengthened lyricism in poems, reflected in the subjective lyric style, lying in the description of the scene, causing Blending of Situation with Emotion. In the subjec of the poems, the landscape, chanting for things have a further development. There also appeared a lot of Palace Style Poetry.There are widespread use of rhetoric, showing the form of Beauty in pursuit,looking for novelty,focusing on the dual rhythm in Language forms. Baozhao who was born with no social status,wrote more different wine poems than Contemporary or the first generation of writers.He is no family learning literacy constraints,so his Wine poetry has more freedom, more diverse in style which is quite different from the current writing style.
The banquet Fu in the Southern Dynasties, reached 45 pieces works. The famous writer Xie Zhuang, Xie Tiao, Shen Yue, Jiang Yan, Wu Yun all involved in the creation,which ensured the quality of writing. The banquet Fu in the Southern Dynasties have mre Yong Wu In the subject, and focus on changing the description of the beautiful pictures and express the writer's emotion,and emphasis on rhetoric and charm, stress on delicate and beautiful creating of articles. There are 35 articles about banquet in Southern Dynasties. Comparing to give priority to sequence of poems in creation in Jin, the articles of banquet literature in Southern Dynasties' style are more diverse such as Song, Ming,Zhen,Yi,Xu,Shu,Shuo,Lun etc,with more antithesis in language,andpay great attention to the use of flowery language,which has more rich and diverse content,and can be divided into 4 types as eulogize, prohibition of meat and wine,entertainment,and funny humorous text etc.
The banquet descriptions in novels of Southern Dynasties have been further developed. There are 127 pieces descriptions about banquet in 3 books of depicting Humanity,which appeared the great work 'Shi Shuo Xin Yu' that has 111 pieces of novels about banquet,which has nearly abstracted all the descriptions about banquet in Wei and Jin.and from which the writer described the figures from outside to inside in banquet with aesthetic point, We can see the aesthetic standards of the people of Wei and Jin, also can be provided valuable information to study the history and literature of Wei Jin.The banquet descriptions in.the Supernatural Tales in Southern Dynasties have 70 pieces in 7 books. In artistic expression, subject matter has been further innovated in the continuation of mystery novels based on the Jin Dynasty, such as the ghost and the banquet show sense of intimacy to ghost, while writing the evil spirit and banquet shows evil also has love,and recorded the marvelous things on banquet, and also appeared banquet about Buddhism reflecting the practice of Buddhism and the idea of karma.
The Northern banquet literature showed the different style from Eastern Jin and Southern Dynasties,also has relatively small number of works,only 72 poems.Among of these the writers who came from south to north created 48 poems,and Yuxin wrote 44 banquet pomes.There were 2 Fu,5 proses about banquet. Affected by the northern cultures,The Northern banquet literature have traces of the Southern Bank literature. And this stage there have been writers Yu Xin,who wrote a large of banquet poems.His North-South compatible poetry enriched the performance style of banquet literature.
The cultural connotations of the banquet literature of Han Wei and Six Dynasties is very rich.There is a tight link between the banquet literature of Six Dynasties and Etiquette and Music culture,with Etiquette as its creation purport,and take moral and Illustrious virtue in their articles to sing the praises and eulogy as its themes.Also,the decline of the ceremony contributed a lot to the prosperity of the banquet literature. The banquet literature was evolved from the feast music,and their are descriptions about songs, dance, music in the banquet literature of Wei and Six Dynasties. The banquet literature of Han Wei and Six Dynasties retain rich content about dietary and holiday customs.It can also reflects the grand creation occasion of the literary groups. The writer group in Han Wei and Six Dynasties is the premise and driving force for the emergence of the banquet literature and it also affected the aesthetic orientation, style and subject matter orientation of the banquet literature. The banquet literature of Six Dynasties reflect the gradual development of entertainment features, with its original purposes of entertaining. The content about chanting, sensual, fantasy in the the Humorous Descriptive Prose reflect this characteristic apparently.Poem and Wine is an important expression of wei-jin style and also the spirit of Literature of the banquet. This Poem and Wine style of the scholars of Han Wei Six Dynasties showed four patterns:Scholar's gathering to drinking,singing and writing poems,the well-known scholar's dissolute and prideful in drinking,and the Poem and Wine style of the scholar can also become the place of Vanity Fair whrere they lost the romantic style and comfortable life of leisure, drinking.
宴饮文学的源头要追溯到先秦：最早的宴饮诗出现在《诗经》的雅颂中,以礼乐文化精神为承载,具有贵族化的格调和典雅庄重的诗风；先秦宴饮文则主要以铭、诰、祝为主,以明德颂美为旨归；屈原《招魂》中有宴饮内容的描写,则于礼乐文化之外体现出娱乐性与审美性的张扬；小说则在《穆天子传》中有周穆王与西王母人神之宴的描写。
汉魏六朝宴饮文学的发展受到诸多历史文化因素的影响：帝王的提倡和参与是宴饮文学发展的首要动力：门阀士族的兴起则壮大了宴饮文学的创作主体阵营；从汉的大一统到东晋南朝,地域文化的变迁影响了宴饮文学的风格和规模；园林的兴起为宴饮文学的创作提供了可兴发情志的优美环境；汉以来渐渐形成的由儒家独尊到儒释道多元并存的思想局面,则使宴饮文学的思想内涵随之发生变动；而建安以来文学的自觉则从文学内部推动了宴饮文学的渐趋繁荣。
汉魏六朝宴饮文学各文体在各时代体现出不同的特征：
汉代宴饮诗20首,多用楚歌,具有丰富的政治内涵：反映从帝王到士子在政治浮沉中的感慨；汉大赋中的宴饮描写讽喻与夸饰并存,而汉代也出现了梁王菟园赋为代表的宴饮小赋14篇,以及描写宴舞的大赋两篇；汉代宴饮文有铭、箴、祝、文诸体共29篇,铭、箴体现出正统规诫的明德载道特征,祝、文则涉及宴饮习俗的文化内容；汉代或托名汉代小说中的宴饮描写共6本21则／处,《燕丹子》体现出宴饮情节在推动故事塑造人物等方面的叙事功用,托名汉代的《汉武帝故事》等小说则把《穆天子传》中出现的人神宴饮情节推向进一步的细致与奇幻。
建安宴饮文学在邺下文人集团的引领下体现出比汉代更高的文学精神价值。建安时,公宴诗之名出现,建安公宴诗有43首,以景物、游戏、女色等内容体现出表现空间的开拓,建安公宴诗重视抒情,反映时人丰富的情感世界,建安公宴诗注重语言之美,体现出文质彬彬的风貌；建安宴饮小赋有26篇,多宴集时同题共作,宴游、咏物为主要题材,讲究情以物迁,反映士人矛盾的情感世界,且兼具文采；建安宴饮相关文21篇,体现以气运文的美学观念,蕴涵着深刻的时间生命意识,文风上则通脱与瀚藻并存。建安小说中的宴饮描写,仅有《列异传》、《笑林》中的只言片语,但也体现出志怪与诙谐的端倪。正始,竹林七贤宴集出现,其饮酒是魏晋名士风度的行为表征,代表了他们不同的生活追求,影响两晋南朝的宴饮生活及士风,竹林名士留存宴饮作品不多,但均是其名士精神的表现。
两晋宴饮文学情形更加复杂：两晋宴饮各体文学发展中,宴饮诗创作繁荣,共有313首。西晋宴饮诗有二百余首,迎来了建安后创作的高潮期,其中公宴诗数量是最多的,有154首,是建安公宴诗43首的三倍多。公宴诗体式也渐趋成熟,就格调而言,西晋公宴诗也表现出与建安不同的颂德称美风貌,是《诗经》礼乐精神的回归。东晋公宴诗,出现了以兰亭雅集为代表的著名文人宴集,留存诗作41首,是先秦至两晋文人宴集创作诗歌数量最多的一次,代表了东晋宴饮诗创作的主体风格,表现出与西晋不同的寄怀山水、体悟玄理的精神旨归。且东晋出现了写酒诗最多的诗人陶渊明,作酒诗有62首,其酒诗“淡”和“真”的风格开一代风气。两晋宴饮赋有60篇,数量多于建安宴饮赋,审美取向上政治教化与审美娱情并存,且辞采华美,表现出多元的发展趋势。两晋宴饮文中,最为突出的是宴饮诗序的出现。两晋宴饮诗序独立为文,且书写性情怀抱,丰富了宴饮文学的创作体式。晋代志怪小说有11本小说中有69则宴饮描写,内容描写奇幻,可分为神与宴饮描写、鬼与宴饮描写、怪与宴饮描写、宴饮异事等题材,丰富了小说中宴饮描写的内容。而晋代志人小说有3本小说中有52条宴饮描写,以记述人的宴饮言、行、事来突显人物风貌,为南朝集大成之作《世说新语》宴饮描写奠定了基础。
南朝宴饮文学随着偏安时局、江南经济富庶、园林的兴起、统治者的提倡、宴集增多而走向繁盛。南朝达到汉魏六朝宴饮诗创作的高潮,宴饮诗创作有786首,其中公宴诗是最多的,有704首,是魏晋公宴诗238首的近三倍；且艺术上娱乐游戏特色更加鲜明,表现公宴诗创作中：以文为戏,有戏笔、限韵、回文、联句、还模拟前人公宴而作诗。抒情性进一步强化,表现为抒情进一步主观化,寄托在景物描写中,造成情景交融的诗境。题材内容方面,山水、咏物有了进一步的开拓,宴饮宫体诗出现并大量创作。语言形式方面,语言穿凿求新、注重声律对偶、且修辞运用更为普遍,表现出唯美化的形式追求。而鲍照创作的酒诗与前代、同时代相比颇具特色。鲍照寒士的出身使他没有社会身份地位、家学素养的束缚,酒诗的创作更加自由,与当时文士酒诗以公宴诗为主相比,鲍照的酒诗创作更加多元,形成的风格更加多样,形成了颇异于时风的俊逸与险俗风格。
南朝宴饮赋有45篇,当时的名家如谢庄、谢眺、沈约、江淹、吴均等都参与了创作,保证了创作的质量。南朝宴饮赋,咏物题材大量出现,注重变幻的画面美的描写,注重抒情,且注重语言修辞及韵致,创作优美精致。南朝宴饮文有35篇,相较于两晋以诗序创作为主,南朝宴饮文体式更加多样,有颂、铭、箴、启、移、序、书、说、论等多种文体,语言更加骈俪化,注重辞采铺排；且创作内容更加丰富多元,可以分为颂德称美文、禁断酒肉文、宴饮娱情文、滑稽俳谐文等四种。
南朝小说中的宴饮描写较前代有了进一步发展。志人小说中宴饮描写有3部127则,其中出现了集前代大成之作《世说新语》,有宴饮描写111则,晋代志人小说中关于魏晋的宴饮描写条则几乎都为其收录。通过这些宴饮描写,作者以审美的角度来由外而内描写人物,从其言谈应对、容止行状到性情怀抱、才德修养,可见魏晋风度之一斑,以及时人品评人物的审美标准,为研究魏晋历史、文学提供宝贵的资料。南朝志怪小说中的宴饮描写数量有7本67则,在艺术表现上,在延续晋代志怪小说的基础上,题材内容有了进一步的创新,鬼怪与宴饮取代神仙宴饮成为主要的题材,其描写通过宴饮突出鬼怪的有情有义,体现出人间化；记载了与晋代不同的宴饮中的异事；且出现了佛教与宴饮的描写,体现出佛教修行与因果报应的思想。
北朝宴饮文学表现出与东晋、南朝不同的文风,创作数量相对较少,有诗歌72首,而其中由南入北作家创作有48首,而庾信就创作有44首；宴饮赋有2篇,宴饮文有5篇,小说则多散佚。北朝宴饮文学,文学取向上有向江左学习的痕迹,且此阶段出现了有南入北的作家庾信,是北朝创作宴饮诗最多的作家,其南北相容的诗风丰富了宴饮文学的表现风格。
汉魏六朝宴饮文学的文化蕴含非常丰富,对后代文学发展有着典范意义。汉魏六朝宴饮文学与礼乐文化有不可割舍的关系,以礼为旨归,一直存在着颂德称美、明德载道的主题,而礼的衰退也推动了宴饮文学的繁荣,宴饮文学本由宴饮中的宴乐发展而来,汉魏六朝宴饮文学中有不少歌、舞、乐的描写；汉魏六朝宴饮文学中保留了丰富的各代饮食习俗和节日习俗的内容；汉魏六朝宴饮文学还可折射出汉以来各代的文学集团创作的盛况,汉魏六朝的文人集团不仅常是宴饮文学创作涌现的前提与动力,亦影响了宴饮文学的审美取向、体式与题材取向；汉魏六朝宴饮文学体现出渐趋发展的娱乐游戏特征：宴饮文学本有娱乐佐兴之用,咏物、声色、神怪等内容,戏笔、俳谐等写法都体现出这一特征。诗酒风流是名士风流的重要表现方式,也是宴饮文学的精神韵致所在。汉魏六朝文人的诗酒风流表现出四种形态：文人聚饮高歌的诗酒雅集,名士疏狂的醉卧高蹈,诗酒风流的逆流——诗酒之会有时会变成风流尽失的名利场,以及闲适高雅的士大夫情怀。
The banquet literature of Han,Wei and Six Dynasties has experienced the track from the development to flourish, which includes about over 1249 poems,149 Fu,117 proses,and 344 pieces of novel in 32 works. That was an integral part of the Han,Wei and Six Dynasties literature,and on the reaserch of the banquet literature in Han,Wei and Six Dynasties,we can make a thorough inquiry of the track of the different style of banquet literature and the different historical periods development context, also to review the characteristics of literary development and see the trend of history and culture of Han, Wei and Six Dynasties.
The source of banquet literature can date back to the Pre-qin. The earliest poem about banquet appeared in Ya and Song in the Book of Songs, which has Etiquette and Music culture, and noble-featured style in Grace and Elegance. The earliest article about banquet were in Zhe, Ming and Zhu, which extol virtue and bear moral. Zhaohun which written by Qu yuan also have the content about banquet which reflecte entertaining and esthetic publicity beyond the Etiquette and Music culture. The novel Biography of Emperor Mu has description about Banquet between the god and humans.
The development of the banquet literature of Han,Wei and Six Dynasties was affected by many historical and cultural factors. The emperor's promotion and participation was the primary driving force. The rise of Aristocratic Nobles strengthened the team of writers who wrote the banquet literature works. From the Han Unification to Eastern Jin's,this regional variation influenced the style and scale of the banquet literature. The rise of private gardens provided a beautiful environment for the creation of the banquet literature. From the Confucian Domination in Han Dynastiy to coexistence of confucianism buddhism and taoism, the ideological Connotation of the banquet literature had changed a lot. the consciousness of literature since Jianan had promoted the banquet literature growing prosperous from the internal of literature.
The style of Literature of the banquet in Han Wei and Six Dynasties reflect the different characteristics:
The banquet poems of Han is 20, most expressed in Chu songs,and has a rich political content:reflected the political ups and downs from the emperor to Scholars. The description of banquet in han da Fu coexists allegory and exaggeration, and there have been the 12 small banquet Fus representive works as 'ode to the Tu park' written by King of Liang. Two pieces of da Fu about the dance on the feast.29 proses about banquet contained Ming, Zhen, Zhu and wenetc. And the Ming and Zhen has the characteristics of orthodox Matilda while the Zhu and Wen involve cultural in the banquet.There are 21 pieces of descriptions of banquet.in 3 novels in the Han Dynasty. The novel "Yan Dan Zi" reflects the feast stories' promoting narrative function by shaping the plot and characters.'The story of the emperor of Han and other novels had promoted the plot of God's banquet into further detail which has appeared in Biography of Emperor Mu.
Jianan banquet literature manifest the higher value of of literature in the guidance of the literature group Jian Ye.In Jianan the name of Public banquet poetry appears, which are 43 poems,and take the scene, games and woman as the main content,reflect the performance of space exploration. Jian.Furthermore Jianan Banquet Poetry were paid great attention to reflect the rich emotional world of people, which have the language-oriented beauty reflecting the gentle character.The small Fu about banquet which has 26 pieces,most set on Banquet in Same Topic, with banquet, chanting as the main theme,and stress emotions migrating inspecific environment,reflect the emotional world of contradictions of the scholars.Jianan articles about banquet have 21 pieces,which embody aesthetic concepts of using Qi to control the writing,imply a profound sense of time and life, co-exist the unconventional and rhetoric. The description about banquet in novel in Jian'an only appeared in 'Lie Yi Zhuan' and 'Xiao lin' in a few words,but also reflects clues of the mystery and witty.In Zhenshi,there appeared the banquets of seven virtuous，characterized by the drinking behavior,on behalf of the pursuit of their different life, affecting the banquet life and ethos of scholars. There has little retention works of 'the seven virtuous' which characterized by the spirit of the celebrities.
The situation of banquet literature in Jin was more complex:In the dvelopment of the different literature styles,the banquet poem development prosperous,which have 313 pomes. There have more than 200 pomes in Western Jin. And the Public banquet Poetry have 154 pieces,which is more than three times of Jianan's 43 pieces of banquet poems. Public banquet Poetry are the four words,and appeared in large numbers style has matured a lot, On the stylistic mode,the Western Jin Dynasty Banquet Poetry also showed a different style of eulogy for morality, which is the "Book of Songs" ritual Spirit. In the Banquet Poetry of the Eastern Jin Dynasty,there have been famous Lanting Group left behind 41 poems, which is the largest number of writing poetry,s ince Pre-qin to Liangjin,represent the main style of east Jin banquet poems, showing a different landscape from the west Jin,with the spirit of understanding the purport Metaphysics as its principal aim. And in the Eastern Jin Dynasty,there appeared Tao yuanming,the poet who wrote the most posems about wine. Tao's drinking poem opened the new generation of culturewith the style of "light" and "true". Compared with Jianan,there are 60 banquet Fu in Jin dynasties co-existed with aesthetic entertainment and political indoctrination, showed a diverse aesthetic trends. The preface of banquet poems in Jin has became a independent stylistics, have the embrace of nature writing, enriche the literary feast creative style. Jin Ghost Stories in 11 pieces has 69 description about banquet, that described the content of fantasy, and can be divided into descriptions of God and the feast, the ghost with the feast description, description of the strange and the feast about strange things,this enriche the description of the contents of the banquet novel. And the zhiren Novels in Jin Dynasty have 52 descriptions in 3 books depicting Humanity, which account of people's words,deeds and things in banquet to highlight the character style of people, lay a Basis for the description about banquet in "Newly Written Down Legends"
Southern Dynasties banquet literature went towards Prosperity with the south economic's prosperity,the rise of landscape and the more prosperous Feast. The banquet literature reached the climax level in Han,Wei and Six Dynasties,and Created 786 poems,and the Public banquet poetry is 704 pieces which is nearly twice the Wei and Jin's 238 poems. In art, the Public banquet poetry with more distinctive features of its entertainment in art, were written for Entertainment with burlesque, limited rhyme, palindrome and bait in the Banquet Poetry, and also simulate the previous verse. They also strengthened lyricism in poems, reflected in the subjective lyric style, lying in the description of the scene, causing Blending of Situation with Emotion. In the subjec of the poems, the landscape, chanting for things have a further development. There also appeared a lot of Palace Style Poetry.There are widespread use of rhetoric, showing the form of Beauty in pursuit,looking for novelty,focusing on the dual rhythm in Language forms. Baozhao who was born with no social status,wrote more different wine poems than Contemporary or the first generation of writers.He is no family learning literacy constraints,so his Wine poetry has more freedom, more diverse in style which is quite different from the current writing style.
The banquet Fu in the Southern Dynasties, reached 45 pieces works. The famous writer Xie Zhuang, Xie Tiao, Shen Yue, Jiang Yan, Wu Yun all involved in the creation,which ensured the quality of writing. The banquet Fu in the Southern Dynasties have mre Yong Wu In the subject, and focus on changing the description of the beautiful pictures and express the writer's emotion,and emphasis on rhetoric and charm, stress on delicate and beautiful creating of articles. There are 35 articles about banquet in Southern Dynasties. Comparing to give priority to sequence of poems in creation in Jin, the articles of banquet literature in Southern Dynasties' style are more diverse such as Song, Ming,Zhen,Yi,Xu,Shu,Shuo,Lun etc,with more antithesis in language,andpay great attention to the use of flowery language,which has more rich and diverse content,and can be divided into 4 types as eulogize, prohibition of meat and wine,entertainment,and funny humorous text etc.
The banquet descriptions in novels of Southern Dynasties have been further developed. There are 127 pieces descriptions about banquet in 3 books of depicting Humanity,which appeared the great work 'Shi Shuo Xin Yu' that has 111 pieces of novels about banquet,which has nearly abstracted all the descriptions about banquet in Wei and Jin.and from which the writer described the figures from outside to inside in banquet with aesthetic point, We can see the aesthetic standards of the people of Wei and Jin, also can be provided valuable information to study the history and literature of Wei Jin.The banquet descriptions in.the Supernatural Tales in Southern Dynasties have 70 pieces in 7 books. In artistic expression, subject matter has been further innovated in the continuation of mystery novels based on the Jin Dynasty, such as the ghost and the banquet show sense of intimacy to ghost, while writing the evil spirit and banquet shows evil also has love,and recorded the marvelous things on banquet, and also appeared banquet about Buddhism reflecting the practice of Buddhism and the idea of karma.
The Northern banquet literature showed the different style from Eastern Jin and Southern Dynasties,also has relatively small number of works,only 72 poems.Among of these the writers who came from south to north created 48 poems,and Yuxin wrote 44 banquet pomes.There were 2 Fu,5 proses about banquet. Affected by the northern cultures,The Northern banquet literature have traces of the Southern Bank literature. And this stage there have been writers Yu Xin,who wrote a large of banquet poems.His North-South compatible poetry enriched the performance style of banquet literature.
The cultural connotations of the banquet literature of Han Wei and Six Dynasties is very rich.There is a tight link between the banquet literature of Six Dynasties and Etiquette and Music culture,with Etiquette as its creation purport,and take moral and Illustrious virtue in their articles to sing the praises and eulogy as its themes.Also,the decline of the ceremony contributed a lot to the prosperity of the banquet literature. The banquet literature was evolved from the feast music,and their are descriptions about songs, dance, music in the banquet literature of Wei and Six Dynasties. The banquet literature of Han Wei and Six Dynasties retain rich content about dietary and holiday customs.It can also reflects the grand creation occasion of the literary groups. The writer group in Han Wei and Six Dynasties is the premise and driving force for the emergence of the banquet literature and it also affected the aesthetic orientation, style and subject matter orientation of the banquet literature. The banquet literature of Six Dynasties reflect the gradual development of entertainment features, with its original purposes of entertaining. The content about chanting, sensual, fantasy in the the Humorous Descriptive Prose reflect this characteristic apparently.Poem and Wine is an important expression of wei-jin style and also the spirit of Literature of the banquet. This Poem and Wine style of the scholars of Han Wei Six Dynasties showed four patterns:Scholar's gathering to drinking,singing and writing poems,the well-known scholar's dissolute and prideful in drinking,and the Poem and Wine style of the scholar can also become the place of Vanity Fair whrere they lost the romantic style and comfortable life of leisure, drinking.
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①(汉)班固撰.(唐)颜师古注.汉书[M].北京：中华书局,1982：1135.
②(汉)班固撰.(唐)颜师古注.汉书[M].北京：中华书局,1982：204.
①(三国魏)曹丕.酒诲.(清)严可均辑.全三国文[M].北京：商务印书馆,1999：77.
①(汉)班固.两都赋序.(清)严可均辑.全后汉文[M].北京：商务印书馆,1999：235.
①(汉)班固.两都赋序.(清)严可均辑.全后汉文[M].北京：商务印书馆,1999：235.
②(汉)班固撰.(唐)颜师古注.汉书[M].北京：中华书局,1982：2829.
①(汉)班固撰.(唐)颜师古注.汉书[M].北京：中华书局,1982：2365.
①李学勤主编.十三经注疏礼记正义[M].北京：北京大学出版社,1999：1631.
①李学勤主编.十三经注疏礼记正义[M].北京：北京大学出版社,1999：1387.
②李学勤主编.十三经注疏礼记正义[M].北京：北京大学出版社,1999：1468.
③李学勤主编.十三经注疏礼记正义[M].北京：北京大学出版社,1999：1102-1103.
①(北宋)司马光.资治通鉴[M].北京：中华书局,2007：258.
①鲁迅著.鲁迅全集第九卷[M].北京：人民文学出版社,2005：36.
①(三国魏)曹操.求贤令,(清)严可均辑.全三国文[M].北京：商务印书馆,1999：17.
②(三国魏)曹不.自叙,(清)严可均辑.全三国文[M].北京：商务印馆,1999：80.
③(晋)陈寿撰,(宋)裴松之注.三国志[M].北京：中华书局,1997：353.
④(晋)陈寿撰,(宋)裴松之.三国志[M].北京：中华书局1964：557.
①(汉)扬雄著、汪荣宝撰,陈仲夫点校.法言义疏[M].北京：中华书局,1987：45.
②(三国魏)曹丕.典论·论文,(清)严可均辑.全三国文[M].北京：商务印书馆,1999：83.
①余英时著.土与中国文化[M].上海：上海人民出版社,1987：339.
①罗宗强著.魏晋南北朝文学思想史[M].北京：中华书局1996：15.
②罗宗强著.魏晋南北朝文学思想史[M].北京：中华书局1996：14.
③(三国魏)曹植.前录序.(清)严可均辑.全三国文[M].北京：商务印书馆,1999：165.
①(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,1962：537.
①(三国魏)曹丕.又与吴质书.(清)严可均辑.全三国文[M].北京：商务印书馆,1999：66.
①(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,1962：134.
①(三国魏)曹丕.车渠碗赋.(清)严可均辑.全三国文[M].北京：商务印书馆,1999：41.
①罗宗强著.魏晋南北朝文学思想史[M].北京：中华书局1996：14.
②(南朝梁)钟嵘著,陈延杰注.诗品[M].北京：人民文学出版社,1980：1.
③(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,1962：134.
①(三国魏)曹植.与杨德祖书.(清)严可均辑.全三国文[M].北京：商务印书馆,1999：159.
①(三国魏)曹植.与杨德祖书.赵幼文校.曹植集校注[M]北京：人民文学出版社,1984：154.
①(西晋)陈寿撰.三国志[M]北京：中华书局,1964：557.
②同①
①《世说新语》引《典略》曰：“刘桢字公干,东平宁阳人。建安十六年,世子为五官中郎将,妙选文学,使桢随侍太子。酒酣坐欢,乃使夫人甄氏出拜,坐上客多伏,面桢独平视。他日公闻,乃收桢,减死输作部。”
①(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,1962：539.
①罗宗强著.魏晋南北朝文学思想史[M].北京：中华书局,1991：45.
②(三国魏)吴质.答魏太子笺.(清)严可均辑.全三国文[M].北京：商务印书馆,1999：308.
①(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,1962：407.
①(南朝宋)刘义庆,徐振堮撰.世说新语校笺[M].北京：中华书局,2004：393.
②(南朝宋)刘义庆,徐振堮撰.世说新语校笺[M].北京：中华书局,2004：408.
①(唐)房玄龄等撰.晋书[M].北京：中华书局,1974：1361.
①(南朝梁)钟嵘撰,陈延杰注.诗品注[M].北京：人民文学出版社,1980：23.
②(三国魏)嵇康.与山巨源绝交书.(清)严可均辑.全三国文[M].北京：商务印书馆,1999：499.
①罗宗强著.玄学与魏晋士人心态[M].北京：中华书局,2005：169.
①诗大序.李学勤主编.十三经注疏[M].北京：北京大学出版社,1999：10.
①(东晋)孙绰.谏移都洛阳疏.(清)严可均辑.全晋文[M].北京：商务印书馆,1999：636.
①(西晋)石崇.金谷诗序.(清)严可均辑.全晋文[M].北京：商务印书馆,1999：335.
②同①
③(东晋)王羲之.兰亭集序.(清)严可均辑.全晋文[M].北京：商务印书馆,1999：257.
④(东晋)王羲之.兰亭集序.(清)严可均辑.全晋文[M].北京：商务印书馆,1999：257-258.
①(东晋)陶渊明.五柳先生传.(清)严可均辑.全晋文[M].北京：商务印书馆,1999：1188.
①(东晋)陶渊明.饮酒诗序.逯钦立撰.先秦汉魏晋南北朝诗[M].北京：中华书局,1998：997.
②(东晋)陶渊明.归去来辞.(清)严可均辑.全晋文[M].北京：商务印书馆,1999：1177.
③(东晋)陶渊明.感士不遇赋.(清)严可均辑.全晋文[M].北京：商务印书馆,1999：1176.
①(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,1962：520.
①罗宗强著.魏晋南北朝文学思想史[M].北京：中华书局,1996：172.
①(南朝梁)徐勉.为书诫子崧.(清)严可均辑.全梁文[M].北京：商务印书馆,1999：532.
①《宋书·谢灵运传》：“灵连既东还,与族弟惠连、东海何长瑜、颍川荀雍、泰山羊璿之,以文章赏会,共为山泽之游,时人谓之四友。”
②《南史·陆倕传》：“(任)昉为中丞,预其宴者：殷芸、到溉、刘苞、刘孺、刘显、刘孝绰及陆倕而已,号曰龙门聚。”
③《南史·到溉》：“任昉为御史中丞,后进皆宗之。时有彭城刘孝绰、刘苞、刘孺、吴郡陆倕、张率、陈郡殷芸,沛国刘显及概、洽,车轨日至,号曰兰台聚。”
①(唐)欧阳询编.艺文类聚[M].上海：上海古籍出版社,1965：1003.
①(梁)萧子显撰.南齐书[M].北京：中华书局,1972：710
②同①
①(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,1962：67.
①(南朝梁)刘勰著、范文澜注《文心雕龙注》,北京：人民文学出版社,1962：531.
②(南朝梁)刘勰著、范文澜注《文心雕龙注》,北京：人民文学出版社,1962：67.
①(南朝梁)钟嵘撰,陈延杰注.诗品注[M].北京：人民文学出版社,1980：23.
①(清)严可均著.《全宋文》[M].北京：商务印书馆1999：233.
①鲁迅著.鲁迅全集第九卷[M].北京：人民文学出版社,2005：20.
①(明)胡应麟.少室山房笔丛[M]北京：中华书局,1958：375.
①(唐)令狐德棻等撰.周书[M].北京：中华书局,1971：733.
②(唐)令狐德棻等撰.周书[M].北京：中华书局,1971：734.
①《宋书·谢灵运传》：“灵连既东还,与族弟惠连、东海何长瑜、颍川荀雍、泰山羊璿之,以文章赏会,共为山泽之游,时人谓之四友。”
②《南史·陆倕传》：“(任)昉为中承,预其宴者：殷芸、到溉、刘苞、刘孺、刘显、刘孝绰及陆倕而已,号曰龙门聚。”
③《南史·到溉》：“任昉为御史中丞,后进皆宗之。时有彭城刘孝绰、刘苞、刘孺、吴郡陆倕、张率、陈郡殷芸,沛国刘显及概、洽,车轨日至,号曰兰台聚。”
①(汉)班固撰.(唐)颜师古注.汉书[M].北京：中华书局,1982：2829.
①(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,2001：673.
①(东晋)王羲之《兰亭集序》,(清)严可均辑.全晋文[M].北京：商务印书馆,1999：636.
孔颖达等注疏.十三经注疏[M].北京：中华书局,1987.
李学勤主编.十三经注疏[M].北京：北京大学出版社,1999.
朱谦之撰.老子校释[M].北京：中华书局,1984.
陈鼓应撰.庄子今注今译[M].北京：中华书局,1983.
杨伯峻注.论语译注[M].北京：中华书局,1980.
杨伯峻注.孟子译注[M].北京：中华书局,2005.
王先谦等撰.荀子集解释[M].北京：中华书局,1988.
(汉)司马迁.史记[M].北京：中华书局,1963.
(汉)班固撰,(唐)颜师古注.汉书[M].北京：中华书局,1982.
(南朝宋)范晔撰.后汉书[M].北京：中华书局,2005.
(晋)陈寿撰.三国志[M].北京：中华书局,1997.
(唐)房玄龄等撰.晋书[M].北京：中华书局,1974.
(南朝梁)沈约撰.宋书[M].北京：中华书局,1974.
(南朝梁)萧子显撰.南齐书[M].北京：中华书局,1972.
(唐)姚思廉撰.梁书[M].北京：中华书局,1973.
(唐)姚思廉撰.陈书[M].北京：中华书局,1972.
(唐)李延寿.南史[M].北京：中华书局,1975.
(唐)魏徵等撰.隋书[M].北京：中华书局,1973.
(后晋)刘昫等撰,旧唐书[M].北京：中华书局,1975.
(宋)欧阳修,宋祁撰.新唐书[M].北京：中华书局,1975.
姚振宗撰.隋书经籍志考证[M].上海：上海古籍出版社,2005.
(宋)司马光编著,(元)胡三省音注.资治通鉴[M].北京：中华书局,1963.
(清)王先谦撰,吴格点校.诗三家义集疏[M].北京：中华书局,1987.
高亨注.诗经今注[M].上海：上海古籍出版社,2009.
程俊英译注.诗经译注[M].上海：上海古籍出版社,1985.
程俊英著.诗经注析[M].北京：中华书局,1991.
(清)孙希旦撰,沈啸寰、王星贤点校.礼记集解[M].北京：中华书局,1989.
朱熹著.诗集传[M].北京：中华书局,1958.
(宋)洪兴祖撰,白化文等点校《楚辞补注》[M].北京：中华书局,2001.
(汉)刘安等编著,刘文典集解《淮南鸿烈集解》[M].北京：中华书局,1989.
(汉)扬雄著,汪荣宝撰、陈仲夫点校《法言义疏》[M].北京：中华书局,1987.
(汉)刘歆、晋葛洪集,向新阳、刘克任校.西京杂记校注[M].上海：上海古籍出版社,1991.
(汉)许慎撰,(清)段玉裁注.说文解字注[M].上海：上海古籍出版社,1981.
(三国)曹植著、赵幼文校注.曹植集校注[M].北京：人民文学出版社,1984.
吴云主编.建安七子集校注[M].天津：天津古籍出版社,2005.
(晋)嵇康著,戴明扬.嵇康集校注[M].北京：人民文学,1962.
(晋)阮籍著,陈伯君注.阮籍集校注[M].北京：中华书局,1987.
罗敏中选注,竹林七贤[M].长沙：岳麓出版社,1999.
(晋)陆机著,金涛声点校.陆机集[M].北京：中华书局出版社,1982.
(晋)陆云著,黄葵点校.陆云集[M].北京：中华书局出版社,1988.
(晋)潘岳著,董志广校注.潘岳集校注[M].天津：天津古籍出版社,2005.
(晋)郭璞著,聂恩彦校注.郭宏农集校注[M].太原：山西人民出版社,1991.
(晋)陶渊明,袁行霈撰.陶渊明集笺注[M].北京：中华书局,2003.
高步瀛著.魏晋文举要[M].北京：中华书局,1989.
(晋)陶渊明,龚斌撰.陶渊明集校笺[M].上海：上海古籍出版社,1999.
(晋)陶渊明,逯钦立著.陶渊明集[M].北京：中华书局,1979.
(南朝宋)谢灵运,顾绍柏撰.谢灵运集校注[M].郑州：中州古籍出版社,1987.
(南朝宋)鲍照,钱仲联校.鲍参军集注[M].上海：上海古籍出版社,2005.
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(南朝梁)江淹著,(明)胡之骥注.江文通集汇注[M].北京：中华书局,1984.
(南朝梁)何逊集注;阴铿集注,刘畅,刘国撰[M].天津：天津古籍出版社,1988.
(北周)庚信著,(清)倪璠注.庚子山集注[M].北京：中华书局,1980.
袁珂校注.山海经校注[M].上海：上海古籍出版社,1980.
(魏)曹丕等撰,郑学校注.列异传等五种[M].北京：文化艺术出版社,1988.
(晋)干宝撰,汪绍楹校注.搜神记[M].北京：中华书局,1979.
(晋)陶潜撰,汪绍楹校注.搜神后记[M].北京：中华书局,1981.
无名氏撰,程毅中点校.燕丹子[M].北京：中华书局,1985.
(晋)张华撰,范宁校证.博物志校证[M].北京：中华书局,1980.
(晋)王嘉撰,(南朝梁)肖绮录.拾遗记[M].北京：中华书局,1981.
(晋)裴启撰,周楞伽辑注.裴启语林[M].北京：文化艺术出版社,1988.
(南朝梁)殷芸编纂,周楞伽辑注.殷芸小说[M].上海：上海古籍出版社,1984
(南朝宋)刘义庆撰郑晚晴辑注.幽明录[M].北京：文化艺术出版社,1988.
(南朝宋)刘义庆,余嘉锡笺疏.世说新语笺疏[M].上海：上海古籍出版社,1993.
(南朝宋)刘义庆,徐振堮撰.世说新语校笺[M].北京：中华书局,2004.
周光培,孙进已主编.汉魏六朝笔记小说[M].沈阳：辽沈书社,1990.
(南朝梁)萧统编,(唐)李善注.文选[M].北京：中华书局,1977.
(南朝梁)萧统编,李善、吕延济等注.六臣注文选[M].北京：中华书局,1987.
(南朝梁)萧统编,高步瀛撰,曹道衡、沈玉成点校.文选李注义疏[M].北京：中华书局,1985.
(晋)陆机著,张少康集释.文赋集释[M].北京：人民文学出版社,2002.
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①《世说新语》引《典略》曰：“刘桢字公干,东平宁阳人。建安十六年,世子为五官中郎将,妙选文学,使桢随侍太子。酒酣坐欢,乃使夫人甄氏出拜,坐上客多伏,面桢独平视。他日公闻,乃收桢,减死输作部。”
①(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,1962：539.
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①(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,1962：407.
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①罗宗强著.玄学与魏晋士人心态[M].北京：中华书局,2005：169.
①诗大序.李学勤主编.十三经注疏[M].北京：北京大学出版社,1999：10.
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①《宋书·谢灵运传》：“灵连既东还,与族弟惠连、东海何长瑜、颍川荀雍、泰山羊璿之,以文章赏会,共为山泽之游,时人谓之四友。”
②《南史·陆倕传》：“(任)昉为中丞,预其宴者：殷芸、到溉、刘苞、刘孺、刘显、刘孝绰及陆倕而已,号曰龙门聚。”
③《南史·到溉》：“任昉为御史中丞,后进皆宗之。时有彭城刘孝绰、刘苞、刘孺、吴郡陆倕、张率、陈郡殷芸,沛国刘显及概、洽,车轨日至,号曰兰台聚。”
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①(南朝梁)刘勰著、范文澜注《文心雕龙注》,北京：人民文学出版社,1962：531.
②(南朝梁)刘勰著、范文澜注《文心雕龙注》,北京：人民文学出版社,1962：67.
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①鲁迅著.鲁迅全集第九卷[M].北京：人民文学出版社,2005：20.
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①《宋书·谢灵运传》：“灵连既东还,与族弟惠连、东海何长瑜、颍川荀雍、泰山羊璿之,以文章赏会,共为山泽之游,时人谓之四友。”
②《南史·陆倕传》：“(任)昉为中承,预其宴者：殷芸、到溉、刘苞、刘孺、刘显、刘孝绰及陆倕而已,号曰龙门聚。”
③《南史·到溉》：“任昉为御史中丞,后进皆宗之。时有彭城刘孝绰、刘苞、刘孺、吴郡陆倕、张率、陈郡殷芸,沛国刘显及概、洽,车轨日至,号曰兰台聚。”
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