略論漢書所載錄的辭賦

The Fu in the Han Shu(漢書)

何沛雄(Kenneth P. H. HO)

《新亞學報》 15卷 (1986/06) Pp. 201-228+ap7

並列摘要

The fu or the rhyme-prose was the most popular literary genre of the Han dynasty (206 B.C.-220 A.D.): writers were numerous and fu-compositions countless in number. It was once used as the conpulsory subject in the civil service examinations to gauge the calibre of cadets and at a time there were over a thousand pieces of fu presented to the throne for perusal. Pan Ku 班固(32-92) was a great historian as well as a distinguished fu-writer. It is interesting to note that of 1004 fu and 74 authors listed in the ＂Essay on Bibligraphy＂(藝文志) only 6 writers (Chia I 賈誼, Emperor Wu 武帝, Ssu-ma Hsiang-ju 司馬相如, Yang Hsiung 揚雄, Lady Pan 班倢伃, and Pan Ku himself) and 13 compositions (＂The Owl＂ 鵬鳥賦, ＂Lament of Ch'u Yüan＂ 弔屈原賦, ＂Afflication to Madam Li＂悼李夫人賦, ＂Sir Fantasy＂ 子虛賦, ＂The Imperial Park＂ 上林賦,＂Lament for the Second Ch'in Emperor＂ 哀秦二世賦, ＂The Great Man＂ 大人賦, ＂The Sweet Spring＂甘泉賦, ＂The Ho-tung＂ 河東賦, ＂The Barricade Hunts＂ 校獵賦, ＂The Ch'ang-yang＂ 長楊賦, ＂Self-afflication＂ 自悼賦, and ＂On mystery＂ 幽通賦) are recorded in the Han Shu 漢書. This article attempts to investiage the significance that these authors and these fu were chosen. A study of the evolution and development of the Han fu establishes that these 6 authors were 'representatives' of all classes of fu-writers, and these 13 fu might be considered 'prototypes' of different types of the thyme-prose in the Han time. Emperor Wu was the first monarchy who gave patronage to fu creativities and his rhyme-prose stood out among all the rulers of the Han dynasty. Lady Pan was at first a palace-attendant and then an imperial concubine. Her ability in composing fu indicates that the popularity of fu permeated to every walk of life in her day. Chia I was a forerunner of fu-writers. His ＂Owl＂ marks the emergence of sao-fu騷賦which derived much from the Ch'u-tz'u楚辭. Ssu-ma Hsiang-ju brought the fu to its highest level of development. His ＂Sir Fantasy＂ and ＂The Imperial Park＂, which are lengthy, elaborate and ornate, attained such literary excellence that they served as models for many imitations. Yang Hsiung was the first poet who advocated that ＂the fu of the poet should be beautiful under guided principle＂(詩人之賦麗以則)and overtly declared that the function of the fu was to 'feng'風. By Pan Ku's time the conventions of the fu-beautiful in language but didactic in function-became firmly established. Apart from submitting the ＂Two Capitals＂兩都賦 to the throne, he also incorporated his ＂On Mystery＂ in the Han Shu. When we read these 13 fu today, we shall find that they cover a wide range of topics, from national sacrifice to personal affection. Accidentally these 13 fu have been translated into English, French or German. Perhaps, they are particularly attractive to Western readers.