| Summary: | 博士 === 國立政治大學 === 中國文學系 === 103 === Researchers of Han Rhapsody often suggest that, as a dominant literary genre of the Han Dynasty, rhapsody had changed its linguistic style gradually owing to the differences from the changes of authors’ social identities, the growing popularity and development of five and seven syllables(五七言詩), and the decline and fall of the Han empire. However, research that describes the specific and concrete features of this genre during the four hundred years of Han Dynasty is scant.
To illustrate how the varying line length, loose parallelism, and extensive themes in Han Rhapsody was built up, interacted with the five and seven syllables(the representative genre of the six dynasty(魏晉六朝)), and influenced other rhythm works for the following millennium, I described, grouped, and integrated all the distinguishing details in Han Rhapsodies with the method which Leo Spitzer had mentioned in his work, Linguistics and Literary History: Essays in Stylistics.
By analyzing the syntactic mode(句式), the pseudo parallel(假平行),the discourse- oriented topics, and the strategies the authors took to extend the length of the rhapsody and to unfamiliarize the readers with the incomplete or inverted sentence, this study showed how the complicated expressions, exhaustive details, and magnificent structures had been simplified and shortened, and both the authors and readers paid more attention to the emotions expressed rather than to the exaggerated language adapted step by step. To conclude, this study may be of importance in providing researchers with a better understanding of how the changes within a genre had taken place, as well as enriching the realm of the traditional Chinese literary criticism, which usually explains the literature phenomenon by subjective impression.
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