论明代辞赋之“七”与“九”  

On the“Seven”and“Nine”Styles of Cifu in Ming Dynasty

作　　者：牛海蓉[1] NIU Hairong

机构地区：[1]湖南大学文学院,湖南长沙410082

出　　处：《湖南师范大学社会科学学报》2022年第3期111-117,共7页Journal of Social Science of Hunan Normal University

基　　金：国家社会科学基金重大项目“中国赋学编年史”(17ZDA240)。

摘　　要：“七”自六朝即已作为文类之一,被视为赋体;“九”未单独立类,但名虽未存,实已久具,属于骚体或辞体。随着复古思潮的兴起和壮大,明代“七”赋、“九”骚也迎来了复兴。二体不仅题目有交叉互换,而且在各自的题材领域都有拓展,在保持二体基本要素的同时,形式上也各有创新。二体的复兴,主要有赖于复古思潮的兴起和壮大,与明代辞赋没有科场文篇幅的限制,也有一定关系。二体整体上有“模拟牵率”的弊病。“Seven”style has been used as one of article categories since the period of Six Dynasties,and regarded as Fu style;the“Nine”is not a separate category,but although the name doesn’t exist,it has been in existence for a long time,and it belongs to Sao style or Ci style.In Ming Dynasty,with the rise and growth of retro ideological trend,“Seven”style Fu and“Nine”style Sao also revived.The two styles not only overlapped in topics,but also expanded in their respective subject areas.While maintaining the two styles’basic elements,they also have innovations in form.The reason for revival is mainly due to the rise and growth of retro ideological trend,which is also related to the fact that there is no length limitation in Cifu in Ming Dynasty.The two styles have the disadvantage of“simulation”on the whole.

关 键 词：明代辞赋 七体与九体 题材拓展 形式创新 复兴原因 弊病 

分 类 号：I207.22[文学—中国文学] K248[历史地理—历史学]