物類與事類：唐代雪賦對謝惠連的承繼與轉變

唐代雪賦今存有古體賦李子卿〈聚雪為小山賦〉、羅隱〈後雪賦〉等兩篇，以及新體賦林滋〈小雪賦以「寒律變時因風有漸」為韻〉、范榮〈殘雪賦以「明月照積雪」為韻〉、蔣防〈雪影透書帷賦以「光彩輝映披閱古今」為韻〉等三篇，茲據此對照謝惠連〈雪賦〉，以實際的賦體作品，反思其中可能蘊含的興義內涵及經驗的呈現。古體賦多半沿襲自謝惠連〈雪賦〉中的物類及場景，並且著重雪與其他物之間的互動。新體賦則以事類為核心，並且這些事類又可見於類書，然而並不局限於雪類，而是依文旨之需要，進行不同門類典故的串接。這種寫作手法突顯出古體賦與新體賦在「繼起的意象」上採取了不同的做法，亦即古體賦以雪為核心，陳列物類以描述「雪如何在」的問題；但新體賦卻以事類作核心，藉由不同的事彼此串連，使歲暮引發而來的不悅或得以消解，成為設辭問對之外的呼應方式。其中較為特別的則為〈聚雪為小山賦〉，在寫作手法上近似於新體賦，但從繼起的意象來看，實際上卻未脫離謝惠連〈雪賦〉鋪陳物類的寫作方式，於是可見體物賦的書寫，受限於古體賦與新體賦的差異而產生分殊。

The extant Tang dynasty Fu賦on snow includes two pieces in the ancient Fu古體賦style: LǐZǐqīng's李子卿Fu on Snow Gathered into a Small Mountain聚雪為小山賦and LuóYǐn's羅隱Following Fu on the Snow後雪賦. Additionally, three pieces in the modern Fu新體賦style: Lín Zī's林滋Fu on Light Snow, with the rhyme“hánlǜbiànshíyīnfēng yǒujiàn”(The seasonal cold changes gradually with the wind)小雪賦以「寒律變時因風有漸」為韻; Fàn Róng's范榮Fu on Melting Snow, with the rhyme“míngyuèzhào jīxuě”(The bright moon shines upon the accumulated snow)殘雪賦以「明月照積雪」為韻; and Jiǎng Fáng's蔣防Fu on Snow Shadows Penetrating the Curtain, with the rhyme“guāngcǎi huīyìng pīyuègǔjīn”(Its brilliance illuminates and reflects, traversing past and present texts).雪影透書帷賦以「光彩輝映披閱古今」為韻This study examines these pieces in comparison with XièHuìlián's謝惠連Fu on Snow雪賦, reflecting on the implicit meanings of incentive process (xīng興) and the representation of experience as conveyed through these actual Fu compositions. The ancient Fu tradition, as exemplified by XièHuìlián's Fu on Snow, adhered closely to the established categories of objects and scenes, constructing its poetic vision around the interplay between snow and other elements of the natural and human world. By contrast, modern Fu shifts its focus toward categories of events, drawing extensively from the classificatory structures of reference book by category (lèishū類書) works. These events, however, are no longer confined to the immediate world of snow but instead unfold across a broader spectrum of allusions, shaped by the rhetorical demands of the text itself. This shift underscores a fundamental divergence in compositional strategies: where the ancient Fu crafts its meaning through the sequential imagery繼起的意象, the modern Fu reconfigures these sequences within the logic of categorical integration and textual intent. The ancient Fu tradition takes snow as its central focus, organizing categories of objects to meditate on the fundamental question of ''how snow exists'' in the world. In contrast, modern Fu adopts categories of events as its structural basis, weaving together disparate occurrences to address or alleviate the melancholic undertones associated with the year's end. This compositional strategy moves beyond the conventional framework of assumed dialogues (設辭問對) to evoke a mode of resonance that transcends the immediate subject. A compelling case in point is the Fu on Snow Gathered into a Small Mountain, which, despite echoing the stylistic tendencies of modern Fu in its rhetorical construction, ultimately aligns with the ancient tradition of arranging categories of objects—a lineage traceable to XièHuìlián's Fu on Snow. This demonstrates that the writing of descriptive fu (tǐwùFu體物賦) is shaped and differentiated by the inherent distinctions between ancient Fu and modern Fu.