《文心雕龙》视域中的《楚辞》

摘要

Accroding to The Literary Mind and the Carving Dragon·Tongbian, Chu Ci was the turning point of literary writing from quality to novelty, with a desire to achieve the balance between“tong” and“change” in ar-ticle writing through“Zong Jing and Gao” and“Change on Sao”. It was for this reason that Liu Xie elevated Chu Ci as the “Literary Pivot”, and put forward the writing principle in Discrimination of Li Sao, which placed em-phasis on harnessing Chu Ci through the application of Ya and Song, pondering over novelty without breaking its trueness, using flowery language without sacrificing the fact, putting the change of Wen into the scope of guid-ance for literary writing. The purpose of the article of Discrimination of Li Sao is to guide people how to use rheto-rics creatively and give full play to language. This principle had a close relation with the thought of “Using cor-rect words to expound the point without pursuing heresy”. The article of Fenggu and Fixed Tendency also comple-mented and enriched the writing principles proposed in Discrimination of Li Sao from different angles. In fact, Liu Xie used Chu Ci to state how to use rhetorics and give full play to language, which was the unique point of his interpretation of Chu Ci.%《文心雕龙·通变》篇认为《楚辞》是文章“从质及讹”的转折点，希望通过“宗经诰”与“变乎骚”，达到文章“通”与“变”的平衡。在这一大背景下，刘勰将《楚辞》列入“文之枢纽”，并在《辨骚》篇中提出了“倚经驭骚，酌奇存真，玩华保实”的写作原则，把“文”之变纳入可以指导的范围内，《辨骚》篇的宗旨就是指导人们如何“驱辞力”和“穷文致”的。这一写作原则与“正言体要，恶乎异端”的思想密切相关。《风骨》篇与《定势》篇还从不同角度对《辨骚》篇的写作原则进行了补充和丰富。实际上，刘勰就是借《楚辞》来述其运辞之道，这是他解《楚辞》的独特之处。