敦煌俗賦之研究範疇及俗賦在文學史上的意義

Abstract

敦煌石室出土的文學作品中，原卷篇題中標名為「賦」的有28 篇，除了傳統的文人雅賦外，還有一類是俗賦。故事性、論辯性、詼諧性、通俗性是其主要特徵。根據這些特徵，可以挖掘出敦煌遺書中一些不以「賦」為名，但卻具有俗賦特質的作品，並對這些作品的特徵和傳播方式進行認證。敦煌俗賦的發現，促使我們對有關賦文學的一些重大問題進行新的思考和認識：中國賦文學史上存在著「雅」和「俗」兩個世界。在「不歌而誦」的傳播方式之下，俗賦和下層人民的生活有著更為密切的關係。敦煌俗賦的發現，證明賦同其他文藝形式一樣，最初都是由下層勞動人民創造並在人民中間口耳相傳。

Twenty-eight of the literary works unearthed from the Dunhuang Grottoes are marked with fu in the original volumes, which include traditional aesthetic fu pieces and popular fu pieces. Though not named as fu, many Dunhuang manuscripts have popular fu’s main characteristics such as being narrative, polemical, humorous and colloquial, and these can be certified by the pieces’ features and disseminating ways. The discovery of Dunhuang popular fu poems prompts new reconsideration and recognition of some serious problems in the fact that the world of high culture and the world of popular culture coexist in Chinese fu literary history. It also proves that popular fu is closely related to working people, because at first it is created and spread by their chanting without singing, which is the same as other art forms. And all these art forms were transmitted among working people by word of mouth.