从主题偏离到讽刺艺术——论我国古代先扬后抑讽刺手法的发展  

From Thematic Deviation to Satirical Art:The Development of Satirical Techniques in Ancient China

作　　者：贾兵[1] JIA Bing(School of Drama and Film,Shenyang Conservatory of Music,Shenyang 110000,China)

机构地区：[1]沈阳音乐学院戏剧影视学院,辽宁沈阳110000

出　　处：《湖南人文科技学院学报》2023年第1期99-104,121,共7页Journal of Hunan University of Humanities,Science and Technology

摘　　要：主题偏离指作品在叙事或抒情时违背最初创作宗旨的情况,这一问题在我国古代屡见不鲜。《诗经》作品自然、原始的抒情状态往往使诗作包含多种情感,缺乏统一的组织。汉代的体物大赋在追求巨丽之美的同时,为了作品的政治意义,往往出现文章在结尾背离主题的“劝百讽一”问题,最终在铺陈形式和讽喻内容的挤压之下产生了蔡邕《述行赋》这样近似“先扬后抑”形式的讽刺作品。唐代诗人李白能够将一首诗作中表露的多种情感组合在统一的风格下,在杜绝主题偏离问题的同时实现了情感的自由表达,而随着抑扬情绪的变化,偶尔会出现具有“先扬后抑”效果的讽刺作品。这类作品最终在白居易的继承下,成为“卒章显其志”的标准“先扬后抑”讽刺模式。Thematic deviation refers to the situation that a work violates the original creation purpose in narrative or lyric, which is a common problem in ancient China. The natural and primitive lyric state of the works of The Book of Songs often makes the poems contain a variety of emotions and lack a unified organization. While pursuing the beauty of magnificence, for the sake of the political significance of the work, the descriptive prose in the Han Dynasty often had the problem that “words that mock righteousness are far from words that induce extravagance” at the end of the article, which deviated from the theme. As a result, under the pressure of the presentation form and the allegorical content, satirical works similar to the form of “promoting before restraining” such as Cai Yong’s Shu Xing Fu came into being. Li Bai, a great poet of the Tang Dynasty, was able to combine a variety of emotions revealed in a poem in a unified style, and realized the free expression of emotions while eliminating the problem of theme deviation. With the change of restrained emotions, satirical works with the effect of “promoting before restraining” occasionally appeared. This kind of works, inherited by Bai Juyi, became the standard satirical mode of “promoting before restraining” of “emphasizing the topic in the end”.

关 键 词：先扬后抑 主题偏离 汉大赋 李白 白居易 

分 类 号：I207.2[文学—中国文学]