从“笔”之病犯论南朝“文笔说”  

A Discussion of "Wen Bi" Theory in the Southern Dynasties from the Taboos of "Bi"

作　　者：唐芸芸[1] Tang Yunyun(the Chinese Department of Chongqing Normal University,Chongqing 401331, China)

机构地区：[1]重庆师范大学文学院

出　　处：《文艺理论研究》2017年第2期88-93,共6页Theoretical Studies in Literature and Art

摘　　要：关于"文笔说"的讨论至今已延续良久。人们一直关注于其在文体分类中的作用。在《文镜秘府论》中,我们可以看到"笔"亦存在病犯,强调句中宫商和谐,且句末不押韵。由此我们得出,"文""笔"之分,应该是骈体的写作方式在南朝时流行的体现。唐代"文笔"说的式微也与骈体的衰落有关。从这则材料还可以看出南朝人对声律的重视和探索,但这并不足以构成"纯文学"观念形成的依据。Scholars have been discussing the connection between ＂ Wen Bi＂ theory and its function in the division of literary genres. The book Wenjing Mifu Lun emphasizes the harmony but does not require end rhyme. ＂ Wen Bi＂ theory is closely linked to the parallel prose according to taboos of ＂Bi＂, and thus they share popularity in the Southern Dynasties and decline in Tang Dynasty. We can also conclude from this fact that there is study of rhythm in the Southern Dynasties, which, however, was not sufficient to prove that there was the idea of ＂pure literature＂ at that time.

关 键 词：“文笔”说 病犯 文镜秘府论 骈体 

分 类 号：I206.2[文学—中国文学]