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Much Blandishment and Little Criticism
描寫奢靡生活占主要篇幅，而用于勸諫的文辭僅占很小比例。形容文章的立意本想使執(zhí)政者警誡，效果卻適得其反。西漢文學(xué)家揚(yáng)雄認(rèn)為，司馬相如創(chuàng)作的辭賦，雖然文章結(jié)尾歸于勸諫，但由于他在辭賦中著力描寫、渲染漢武帝的奢靡生活，使閱讀者的注意力只會(huì)為辭賦中描繪的帝國宏業(yè)所吸引，也由此助長(zhǎng)了帝王的奢靡心理，勸諫諷喻的效果并不理想。因此，揚(yáng)雄對(duì)司馬相如的辭賦提出了批評(píng)。
This term means that an essay dwells too much on the luxurious life of a monarch to the neglect of the author's original intention of admonishing him. In the Western Han Dynasty, writer Yang Xiong held that although Sima Xiangru always ended on a note of satirical criticism in his prose-poetry, he devoted too much space to the description and glorification of a monarch's luxurious life, bringing readers' attention to the grand achievements of the empire and feeding the monarch's arrogance, thus impairing the admonitory effect. Therefore, Yang criticized Sima Xiangru for such a style of writing.
引例 Citation：
◎相如雖多虛辭濫說，然要其歸引之于節(jié)儉，此亦《詩》之風(fēng)諫何異？揚(yáng)雄以為靡麗之賦，勸百而風(fēng)一，猶騁鄭衛(wèi)之聲，曲終而奏雅，不已戲乎？（《漢書·司馬相如傳》）
司馬相如的辭賦雖然有大量假托的文辭與夸張的說法，但其文章的立意還是歸于節(jié)儉，這與《詩經(jīng)》的諷諫有什么不同呢？揚(yáng)雄認(rèn)為司馬相如華麗的辭賦中，描寫奢靡生活的文辭占主要篇幅，用于勸諫節(jié)儉的文辭不過百分之一，就好像一支樂隊(duì)一直盡情演奏淫靡的鄭衛(wèi)之音，只在樂曲終了時(shí)才演奏一點(diǎn)兒莊嚴(yán)的雅樂，這不等同于游戲嗎？
Despite much ostentation and exaggeration, Sima Xiangru finally focused on the importance of being frugal. So what difference is there between this and nuanced criticism in The Book of Songs? Yang Xiong argued that in Sima Xiangru's beautiful writing, descriptions of luxurious life dominated all space except toward the end of the essay, where admonitory words emerged extolling the merit of frugality. This can be likened to a musical band playing the decadent music of the states of Zheng and Wei up until the end of the performance, when the band finally struck up some majestic, elegant notes. Now isn't it a joke? (The History of the Han Dynasty)
推薦：教育部 國家語委
供稿：北京外國語大學(xué) 外語教學(xué)與研究出版社
責(zé)任編輯：錢耐安
