陸機文賦理論與音樂之關係

Abstract

The Wen fu or "Rhymeprose on Literature" by Lu Chi 陸機. an important piece of early Chinese literary criticism, has recently been studied by a number of scholars and translated into European languages. The studies of these scholars have contributed much to our understanding of the work, for example, by demonstrating that, contrary to tradition, Lu Chi did not compose the Wen fu at the age of twenty. One important point, however, seems to have been overlooked by these scholars, and that is the fact that a number of the essential concepts of Lu Chi's literary theory are derived from music and musical theory. Thus for example the technical terms ying 應, ho 和, pei 悲, ya 雅. and yen 艶, which appear in the Wen Ju, have not been properly interpreted by any of the scholars because they all failed to realize that these are terms which derive from musical theory and technique, particularly that associated with the ch'in or Chinese lute. Among these five concepts derived from music, Lu Chi placed particular emphasis upon those of pei and yen, and because of his influence these became key concepts in the literary development of the centuries following Lu Chi's time. The author also points out that the character t'i 體 as used in the Wen fu conveys the meaning not only of "genre" but of "style" as well. In addition the author emphasizes the close connection between Lu Chi's critical pronouncements and the practices he adopted in his own poetry.