| 摘要: | 賦體藉「不歌而誦」之義，以區隔於歌詩。藉鋪敘的方法，達到寄託之功能。口誦藝術本為民間文學的大宗，有傳播知識之功，更有娛樂箴戒之效，而其形式則呈現多種面貌。迨文藝之士多所取資，遂為書面文學，蘊成獨立文體。無論其為鄉野之誦說，大家之弘篇；無論為經國之大謨，隱語風俗之小數，咸屬「賦」體之一端。至若區劃賦體之型式範疇，凡載籍所見，或新出土簡帛之韻誦文學，往往有不以賦為題目之篇章。而詳審其風格功能，又確然與賦體格式不相悖逆。本篇就聞見所及，通揀雅俗，總括其例為九類，以闡示賦體應用之宏博。本篇列舉以下屬類之篇章以見賦體之像貌：一、勸諫微言，二、隱語與射覆，三、虛擬與寓言，四、名物鋪陳，五、問答與論辯，六、諧謔與自嘲，七、故事演唱，八、銘言與日用韻誦體：(一)哲理銘言，(二)規章訓辭，(三)咒願吉辭，九、小說戲曲中描繪表態用的賦體。尚有未及蒐羅而與賦體之義涵相符合的文學體裁，亦可再增加門類，擴充體式。
Fu differs from song or poem in that Fu is recitative, but not chantable. Recitative literature is the record of language arts, in which rhythm is its essential element and touching is its main characteristic. Fu styles demonstrate admonishment, amusement, denomination, or disputation. The styles of Fu varied; they cannot be fixed in one form or one meaning. The readers recite loudly with its rhythm, and review repeatedly for its amusement. Therefore, though naming without ‘Fu’ on the titles, they are definitely the styles of Fu and certainly shouldn’t be excluded from the scope of Fu. This paper
illustrates the following styles of Fu: (a) admonition, (b) metaphor, (c) fiction and fables, (d) denomination and describing, (e) disputation, (f) wisecrack, (g) talking & singing the story, (h) mottos and daily rhythmical styles – i.e., (1) philosophical mottos, (2) curses and blessings, (3) rules and lectures, and (i) a paragraph of Fu styles for depiction in Fiction & opera. Meanwhile, this paper also compared Fu (those with the word ‘Fu’ on the titles) with Fu (those without the word ‘Fu’ on the titles) to provide further evidence of Fu styles. Hence, the scope of Fu could be broadly
encompassed. |
