“七”体的模式与理论底色——兼论“七”体内容的矛盾性与艺术的统一性  

On the Pattern of the "Qi (Seven)" Style and its Theoretical Basis: Also the Contradiction of its Content and its Artistic Unity

作　　者：李乃龙[1] 

机构地区：[1]广西师范大学文学院,广西桂林541004

出　　处：《广西师范大学学报（哲学社会科学版）》2008年第4期39-45,共7页Journal of Guangxi Normal University(Philosophy and Social Sciences Edition)

基　　金：广西"人文强桂工程"项目"<文选>研究"(桂科软05111001)

摘　　要："七"是模仿枚乘《七发》形成的一种文体,具有以问答为结构、以七事为内容、以启发为手段、以规谏为宗旨的文体特征。从文体实践看,"七"形成了问疾和招隐两大模式。问疾型的理论根据出自道家,而招隐型的理论则为儒家。问疾型的内容矛盾本质是作者自觉的社会人与不自觉的自然人之间的矛盾,是角色变换与主旨不变造成的矛盾。招隐型的矛盾表现为招隐者品格的贬抑和招隐者劝世理论的肯定,根植于作者在特定时世下对仕隐的依违难从。无论问疾型还是招隐型,都一致表现出对极致美的自觉追求,这种美学风范共同源自纵横家风。The Qi （seven） style is formed by modeling Mei Cheng＇s Qifa. It has the following stylistic fea- tures ： a structure of question and answer, the content of seven events, the means of enlightening and the purpose of admonition. From the perspective of stylistic practice, the Qi has two major patterns： that of ＂asking about diseases＂ and that of persuading reclusion. The former has its theoretical basis on Taoism, while the later on Confucianism. The nature of content contradiction of the former pattern is the contradic- tion between the writer＇s conscious social man and unconscious natural man. The contradiction of the lat- ter pattern is that of the depreciation of the persuader＇s character and the confirmation of his persuading theory. Both patterns demonstrate a conscious pursuit of ultimate beauty.

关 键 词：七 模式 道家 儒家 

分 类 号：I206.2[文学—中国文学]