| 摘要: | 本文旨在探討六朝賦篇詩化的原因及其表現。賦體的發展，自屈宋，而漢、六朝、唐、宋至清，其特徵可以說是一個不斷發展變化的概念，而六朝多詠物抒情，多排偶語詞，形式內容也多表現詩化的現象。因此，賦篇詩化已成了六朝賦的一大特色。 本文除前言對詩化略作說明外，第二部分專論造成六朝賦詩化的原因。舉凡亦師亦文之賦體本質，賦體深度駢化之結果，詩體興盛之影響，賦家兼詩人之身分，詩賦同題之現象，都是因素之一。第三部分則針對賦體詩化的表現，從賦末結語、賦中系歌詞，及詩賦合一等三方面加以探討，而餘論則略述其影響。 賦篇詩化既是六朝賦的一大特色，其來龍去脈實有加以研討之必要。如此，除了有助於對六朝賦篇的了解外，更可掌握六朝時代的賦體特徵。這是我寫這篇論文的目的，也希望博雅之士給予批評和指教。
The purpose of this thesis is to discuss the reason why Fu becomes more poetic and the way it presents in the Six Dynasties. From Chu Sung, through Han, Six Dynasties, Tang, Sung, to Ching, the form of Fu changed and developed gradually and continuously. Fu, in Six Dynasties, mostly writes on object and expresses feelings; both form and contents are more poetic. Therefore, Poetic Fu becomes the major feature of Six Dynasties' Fu. In Preface, there is an explanation on Poetic Fu. The second part focuses on the causes of Poetic Fu in Six Dynasties, such as the nature of Fu's form – partly poetry, partly essay, euphuistically antithetic style of Fu, popular poetic style, and the one who composes Fu also writing poetry. The third part discusses the presentation of Poetic Fu, including Fu's ending, songs in Fu, and the way of combining poetry with Fu. The rest indicates the effect of Poetic Fu. Since Poetic Fu is the major feature of Six Dynasties' Fu, it is worth a further study, not only for understanding much more Fu, but also for knowing its characteristics in Six Dynasties. For the reason stated above, I write this thesis. Welcome any kind of comments and instruction. Thank you. |
