《史记·屈原列传》与汉代屈原批评的两个维度

摘要

In Han dynasty , Qu Yuan is a focus of literary criticism , the views are very different , and the argument is fierce . But the criticism modes in Han Dynasty are the same that are from two dimensions , historical image and literary image .Historical image is suitable for describing Qu Yuan’s literature creation, and this is the criticism of the writer, Qu Yuan.Literary image is shown as the criticism of Qu Yuan’s works, and this is Criticism of Qu Yuan’s works.The literary image made by Qu Yuan himself offered the wide space for commentators to explain in Han dynasty .Except Qu Yuan , literary criticism paid no attention to writers in Han dynasty, and the reason is imagination was the main approach of Fu , which is essentially different from Qu Yuan’s poems.The writers of Fu only have historical images , and they did not make their literary images which offered the wide space for commentators to explain.%两汉时代，屈原批评成为文学批评的焦点，观点纷纭而论争激烈。但汉代的屈原批评所遵循的模式则是一致的，即围绕着《史记·屈原列传》所开创的历史形象和文学形象两个维度而展开，历史形象适用于总体上阐述屈原文学创作情形，也就是作者论；文学形象则表现为有关屈原作品内容的批评，即作品论。屈原自我塑造的文学形象，给汉人提供了多重阐释的空间和可能。屈原之外，汉代赋家本身已不再为文学批评所关注，这与汉赋不同于屈骚的“实”而采取“虚”的创作倾向有关。汉代赋家游离于汉赋作品之外，并没有为文学批评提供再度阐释文学形象维度。