“丑女”的赋体书写及演变  

The Writing of “Ugly Woman” in the Fu Style and Its Evolution

作　　者：王飞阳 WANG Fei-yang(School of Literature,Guizhou Normal University,Guiyang 550001,China)

机构地区：[1]贵州师范大学文学院,贵州贵阳550001

出　　处：《西华师范大学学报（哲学社会科学版）》2022年第6期92-99,共8页Journal of China West Normal University:Philosophy & Social Sciences

基　　金：国家社会科学基金重大项目(19ZDA249)。

摘　　要：自宋玉《好色赋》数笔勾勒登徒子妻的丑貌,丑女的赋体书写传统就已开始。后世赋作变丑女由陪衬角色而为书写主题,大量笔墨刻画形容,且日益细致,愈发夸虚,彰显了赋体铺陈凭虚之本色。随着赋体衍变,丑女书写亦呈现不同的赋体面貌,具有不同的句式特征。且赋家出自争胜竞雄、用赋刺世的创作动机,丑女书写的旨意已由戏谑取乐变为寓意托讽。这与作者际遇、社会风气并无直接关联,跳脱“知人论世”的方法执持,才可切实体悟“赋者古诗之流”论断的深远影响。Since Song Yu sketched the ugly appearance of a playboy’s wife in his Fu on Lasciviousness,the tradition of writings for ugly women in the fu style has begun.The foil role of ugly women in the later fu works became the theme of writing.A large number of words were used to describe them, and the description became increasingly meticulous and exaggerated, highlighting the true nature of the fu style in description and exaggeration.With the evolution of fu style, the writing of ugly woman also presents different fu style appearances and different sentence patterns.Due to the creative motivation of winning the competition and satirizing the world with fu works, the fu authors’ purpose of writings for ugly woman has changed from joking and making fun to satirizing with implied meaning.This is not directly related to the author’s encounter and social atmosphere.Only by escaping from the adherence to the method of “knowing people and discussing the world” can we truly realize that “fu originates from poetry”,the far-reaching impact of the assertion.

关 键 词：丑女 辞赋 赋体书写 铺陈凭虚 赋论 

分 类 号：I222.4[文学—中国文学]