關(guan)于(yu)(yu)宋(song)(song)(song)(song)玉(yu)(yu)的(de)(de)(de)生平(ping),據《史(shi)記(ji)·屈(qu)原(yuan)(yuan)(yuan)(yuan)賈生列(lie)傳》載:"屈(qu)原(yuan)(yuan)(yuan)(yuan)既死之(zhi)(zhi)后,楚(chu)(chu)有(you)(you)宋(song)(song)(song)(song)玉(yu)(yu)、唐勒、景差(cha)之(zhi)(zhi)徒者(zhe),皆好辭而以(yi)賦見稱。然皆祖(zu)屈(qu)原(yuan)(yuan)(yuan)(yuan)之(zhi)(zhi)從(cong)容辭令,終莫敢直諫。"記(ji)述極(ji)為簡略。《韓詩(shi)外傳》有(you)(you)"宋(song)(song)(song)(song)玉(yu)(yu)因其友而見楚(chu)(chu)相"之(zhi)(zhi)言(yan)。劉向《新(xin)序》則作"宋(song)(song)(song)(song)玉(yu)(yu)因其友以(yi)見楚(chu)(chu)襄王(wang)","事(shi)楚(chu)(chu)襄王(wang)而不見察",同時又有(you)(you)"楚(chu)(chu)威(wei)王(wang)(襄王(wang)的(de)(de)(de)祖(zu)父)問(wen)于(yu)(yu)宋(song)(song)(song)(song)玉(yu)(yu)"的(de)(de)(de)話(hua)。王(wang)逸在(zai)《楚(chu)(chu)辭章句》中則說(shuo)他是(shi)屈(qu)原(yuan)(yuan)(yuan)(yuan)的(de)(de)(de)弟子(zi)(zi)。晉代習鑿(zao)齒(chi)《襄陽耆舊傳》又說(shuo):"宋(song)(song)(song)(song)玉(yu)(yu)者(zhe),楚(chu)(chu)之(zhi)(zhi)鄢人也(ye),故宜城有(you)(you)宋(song)(song)(song)(song)玉(yu)(yu),始事(shi)屈(qu)原(yuan)(yuan)(yuan)(yuan),原(yuan)(yuan)(yuan)(yuan)既放逐,求(qiu)事(shi)楚(chu)(chu)友景差(cha)。"總之(zhi)(zhi),關(guan)于(yu)(yu)宋(song)(song)(song)(song)玉(yu)(yu)的(de)(de)(de)生平(ping),眾(zhong)說(shuo)紛(fen)紜,至難分(fen)曉。大體上(shang)說(shuo),宋(song)(song)(song)(song)玉(yu)(yu)當(dang)生在(zai)屈(qu)原(yuan)(yuan)(yuan)(yuan)之(zhi)(zhi)后,是(shi)為戰國(guo)時期宋(song)(song)(song)(song)國(guo)公子(zi)(zi),因父子(zi)(zi)矛盾而出走楚(chu)(chu)國(guo),今存有(you)(you)宋(song)(song)(song)(song)玉(yu)(yu)城遺址,相傳宋(song)(song)(song)(song)玉(yu)(yu)在(zai)臨(lin)澧生活47年,留下了大量辭賦作品以(yi)及傳說(shuo)故事(shi),當(dang)地有(you)(you)宋(song)(song)(song)(song)玉(yu)(yu)墓、九辯書(shu)院,還(huan)有(you)(you)不少與宋(song)(song)(song)(song)玉(yu)(yu)有(you)(you)關(guan)的(de)(de)(de)地名傳說(shuo)等故事(shi)。
關于宋玉(yu)師承(cheng),普遍認為(wei)他師承(cheng)屈原(yuan)(yuan)。但也有(you)學者認為(wei)王逸晚于屈原(yuan)(yuan)200年后才(cai)說宋玉(yu)是(shi)屈原(yuan)(yuan)弟子是(shi)沒有(you)依(yi)據的,是(shi)其把(ba)“祖(承(cheng)襲、效法)屈原(yuan)(yuan)”理解為(wei)“師從屈原(yuan)(yuan)”了。
最早據《漢書·藝文(wen)志》載,有(you)16篇。現今相(xiang)傳為(wei)他所作(zuo)的,《九(jiu)(jiu)辯》、《招魂》兩篇,見(jian)于(yu)王逸(yi)《楚(chu)辭章(zhang)(zhang)句》;《風賦(fu)(fu)(fu)(fu)(fu)(fu)》、《高唐(tang)(tang)賦(fu)(fu)(fu)(fu)(fu)(fu)》、《神女(nv)賦(fu)(fu)(fu)(fu)(fu)(fu)》、《登徒子好色賦(fu)(fu)(fu)(fu)(fu)(fu)》、《對楚(chu)王問》 5篇,見(jian)于(yu)蕭統《文(wen)選》;《笛賦(fu)(fu)(fu)(fu)(fu)(fu)》、《大(da)言賦(fu)(fu)(fu)(fu)(fu)(fu)》、《小言賦(fu)(fu)(fu)(fu)(fu)(fu)》、《諷(feng)賦(fu)(fu)(fu)(fu)(fu)(fu)》、《釣(diao)賦(fu)(fu)(fu)(fu)(fu)(fu)》、《舞賦(fu)(fu)(fu)(fu)(fu)(fu)》 6篇,見(jian)于(yu)章(zhang)(zhang)樵(qiao)《古文(wen)苑》;《高唐(tang)(tang)對》、《微(wei)詠(yong)賦(fu)(fu)(fu)(fu)(fu)(fu)》、《郢(ying)中對》 3篇,見(jian)于(yu)明代劉節《廣文(wen)選》。但(dan)這些作(zuo)品,真偽相(xiang)雜(za),可(ke)信而(er)無異(yi)議(yi)的只有(you)《九(jiu)(jiu)辯》一(yi)篇。《招魂》頗(po)多(duo)爭議(yi),一(yi)般認為(wei)是屈原所作(zuo)。其他如《高唐(tang)(tang)賦(fu)(fu)(fu)(fu)(fu)(fu)》、《神女(nv)賦(fu)(fu)(fu)(fu)(fu)(fu)》、《登徒子好色賦(fu)(fu)(fu)(fu)(fu)(fu)》、《風賦(fu)(fu)(fu)(fu)(fu)(fu)》等篇在文(wen)學史上的地(di)位是相(xiang)當重要的。
宋(song)玉的成就雖(sui)然難(nan)與(yu)屈(qu)(qu)原相比,但他是(shi)屈(qu)(qu)原詩歌藝術的直接繼承(cheng)者(zhe)。在他的作品中,物象的描繪趨于細膩工致(zhi),抒情與(yu)寫景結合得自然貼切, 在楚(chu)辭與(yu)漢賦之間,起(qi)著承(cheng)前啟(qi)后(hou)的作用(yong)。后(hou)人多以屈(qu)(qu)宋(song)并稱,李白曾(ceng)說“屈(qu)(qu)宋(song)長逝,無堪與(yu)言(yan)”,可(ke)見宋(song)玉在文學史上(shang)的地位。
在(zai)藝術(shu)思(si)想體系上(shang),宋玉深(shen)受道(dao)家(jia)文(wen)(wen)學的影響。他許多辭賦從遣詞造句(ju)到(dao)謀篇布局(ju)、從立意構思(si)到(dao)運用寓(yu)言 都深(shen)受 《老子》《莊子》《列子》的濡(ru)染,特別是“恢(hui)詭譎怪”的莊子散(san)文(wen)(wen)對宋玉影響更大。
道(dao)家文學(xue)對宋(song)玉(yu)的(de)濡染(ran)道(dao)家學(xue)派的(de)開山祖師是(shi)老子(zi)(zi)。宋(song)玉(yu)的(de)辭賦(fu)(fu)(fu)創(chuang)作(zuo)受了(le)老子(zi)(zi)《道(dao)德經(jing)》(即(ji)《老子(zi)(zi)》)的(de)沾溉。宋(song)玉(yu)描寫男女(nv)性(xing)愛,即(ji)明顯受了(le)老子(zi)(zi)的(de)影響。道(dao)家文學(xue)在(zai)語言運用(yong)上沖破(po)了(le)這一(yi)禁區,常(chang)(chang)用(yong)富有(you)性(xing)感(gan)的(de)語言闡述和表(biao)現(xian)(xian)玄理。《老子(zi)(zi)》贊揚嬰兒,‘未知牝(pin)牡(mu)之(zhi)合而(er)全(quan)(按:一(yi)作(zuo)膠,指小孩生(sheng)殖(zhi)器)作(zuo)’(第55章),把嬰兒的(de)這種本能看作(zuo)是(shi)天性(xing)精(jing)純的(de)表(biao)現(xian)(xian)。他(ta)在(zai)強調以(yi)靜為(wei)本時(shi)還說(shuo)過:‘牝(pin)常(chang)(chang)以(yi)靜勝(sheng)牡(mu),以(yi)靜為(wei)下(xia)。’(第61章)這是(shi)用(yong)雌雄(xiong)交配的(de)例(li)子(zi)(zi)說(shuo)明以(yi)靜勝(sheng)動(dong)、以(yi)柔克剛。類(lei)似語言對于言必稱禮書禮義的(de)鄒(zou)魯之(zhi)士、播(bo)紳(shen)先生(sheng)來說(shuo),是(shi)絕不肯啟(qi)齒的(de)。”宋(song)玉(yu)正是(shi)繼承了(le)老子(zi)(zi)大膽地(di)(di)進行描寫的(de)傳統(tong),在(zai)《招魂》《高唐賦(fu)(fu)(fu)》《神(shen)女(nv)賦(fu)(fu)(fu)》《登徒子(zi)(zi)好色(se)賦(fu)(fu)(fu)》《諷賦(fu)(fu)(fu)》等作(zuo)品(pin)中(zhong)真實自然地(di)(di)表(biao)現(xian)(xian)了(le)男女(nv)。
宋(song)(song)玉辭(ci)(ci)賦中(zhong)(zhong)(zhong)有(you)(you)些句式,明顯脫胎(tai)于《道(dao)(dao)德經》。游(you)國恩(en)先(xian)生(sheng)說:“今按《道(dao)(dao)德經》中(zhong)(zhong)(zhong),大(da)半是(shi)韻文,極(ji)似(si)一(yi)種散文詩歌。而(er)其(qi)(qi)中(zhong)(zhong)(zhong)又(you)有(you)(you)特(te)別的(de)(de)兩(liang)章(zhang)(zhang),例如(ru)(ru)第十(shi)五章(zhang)(zhang)云: ‘豫兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)冬涉川,猶兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)畏四鄰,儼兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)(qi)若(ruo)(ruo)(ruo)容(rong),渙兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)冰之(zhi)將釋,.敦(dun)兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)(qi)若(ruo)(ruo)(ruo)樸,曠兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)(qi)若(ruo)(ruo)(ruo)谷,混兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)(qi)若(ruo)(ruo)(ruo)濁。’又(you)第二十(shi)一(yi)章(zhang)(zhang)云:‘孔德之(zhi)容(rong),惟(wei)道(dao)(dao)是(shi)從(cong)。道(dao)(dao)之(zhi)為(wei)物(wu),惟(wei)恍惟(wei)惚(hu)。惚(hu)兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)恍兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),其(qi)(qi)中(zhong)(zhong)(zhong)有(you)(you)象(xiang);恍兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)惚(hu)兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),其(qi)(qi)中(zhong)(zhong)(zhong)有(you)(you)物(wu)。窈兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)冥兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),其(qi)(qi)中(zhong)(zhong)(zhong)有(you)(you)精,其(qi)(qi)精甚真,其(qi)(qi)中(zhong)(zhong)(zhong)有(you)(you)信。’這些句子不(bu)但(dan)有(you)(you)韻,而(er)且很(hen)(hen)像(xiang)楚辭(ci)(ci)的(de)(de)先(xian)驅;因(yin)為(wei)它們很(hen)(hen)有(you)(you)‘騷(sao)體’的(de)(de)風味(wei)。……所(suo)以我們可以說老(lao)子是(shi)南方(fang)學術的(de)(de)鼻祖,同時又(you)是(shi)楚辭(ci)(ci)的(de)(de)禰祖。游(you)先(xian)生(sheng)指出《道(dao)(dao)德經》具有(you)(you)楚騷(sao)風味(wei),自是(shi)不(bu)刊之(zhi)論。不(bu)過,值得注意(yi)的(de)(de)是(shi),游(you)先(xian)生(sheng)所(suo)舉(ju)《道(dao)(dao)德經》第十(shi)五章(zhang)(zhang)那樣的(de)(de)句式,在宋(song)(song)玉作品中(zhong)(zhong)(zhong)卻有(you)(you),而(er)且模仿的(de)(de)非常像(xiang)。如(ru)(ru)宋(song)(song)玉《九辯(bian)》開頭在“悲哉(zai),秋(qiu)(qiu)之(zhi)為(wei)氣也(ye)(ye)”之(zhi)后,即用(yong)(yong)了一(yi)組與(yu)《道(dao)(dao)德經》相(xiang)同的(de)(de)帶“兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)”字(zi)的(de)(de)比喻句來描寫(xie)(xie)蒼涼的(de)(de)秋(qiu)(qiu)景(jing):“蕭(xiao)瑟兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),草木(mu)搖(yao)落而(er)變衰。慷(kang)栗兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),若(ruo)(ruo)(ruo)在遠行,登(deng)山(shan)I陸水兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),送將歸(gui)。次寥兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),天高(gao)而(er)氣清。寂寥兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi),收潦而(er)水清。……”宋(song)(song)玉在賦作中(zhong)(zhong)(zhong)描寫(xie)(xie)人物(wu)形象(xiang)也(ye)(ye)常用(yong)(yong)此類(lei)句式。如(ru)(ru)《高(gao)唐賦》描寫(xie)(xie)神(shen)女(nv)的(de)(de)形象(xiang):“其(qi)(qi)始出也(ye)(ye),時兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)松樹(shu);其(qi)(qi)少進也(ye)(ye),哲兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)姣姬。……忽兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)改容(rong),偈兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)駕(jia)駟馬(ma),建(jian)羽旗。湫兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)如(ru)(ru)風,凄兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)如(ru)(ru)雨。”《神(shen)女(nv)賦》中(zhong)(zhong)(zhong)也(ye)(ye)是(shi)如(ru)(ru)此:“曄兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)如(ru)(ru)華,溫乎如(ru)(ru)瑩”;“忽兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)改容(rong),婉若(ruo)(ruo)(ruo)游(you)龍乘云翔”,等等。
道家學派的經典《莊子》和《列子》對(dui)宋玉的影響就(jiu)大了,尤其是《莊子》。
宋(song)玉辭(ci)賦(fu)(fu)描寫刻劃(hua)人(ren)物(wu)有的(de)(de)(de)明(ming)顯受(shou)了《莊子(zi)(zi)(zi)》和《列(lie)(lie)子(zi)(zi)(zi)》的(de)(de)(de)影(ying)(ying)響。例如,宋(song)玉《釣(diao)(diao)(diao)賦(fu)(fu)》、描寫的(de)(de)(de)玄(xuan)(xuan)淵(yuan)善(shan)釣(diao)(diao)(diao):“夫玄(xuan)(xuan)淵(yuan)釣(diao)(diao)(diao)也,以三尋之(zhi)(zhi)(zhi)(zhi)(zhi)竿(gan),八絲之(zhi)(zhi)(zhi)(zhi)(zhi)綸,餌(er)若蛆蚓,鉤(gou)如細針,以出三尺之(zhi)(zhi)(zhi)(zhi)(zhi)魚(yu)(yu)于數(shu)仞之(zhi)(zhi)(zhi)(zhi)(zhi)水中(zhong),豈可(ke)(ke)謂無(wu)術乎(hu)?夫玄(xuan)(xuan)淵(yuan),芳水餌(er),掛繳鉤(gou),其意不(bu)(bu)(bu)(bu)(bu)可(ke)(ke)得,退(tui)而(er)牽(qian)行,下觸清泥,上(shang)則(ze)波(bo)揚(yang)。玄(xuan)(xuan)淵(yuan)因(yin)(yin)水勢而(er)施之(zhi)(zhi)(zhi)(zhi)(zhi),頡之(zhi)(zhi)(zhi)(zhi)(zhi)頏(hang)之(zhi)(zhi)(zhi)(zhi)(zhi),委縱(zong)收(shou)斂,與(yu)魚(yu)(yu)沉浮(fu)。及其解弛,因(yin)(yin)而(er)獲(huo)之(zhi)(zhi)(zhi)(zhi)(zhi)。”很容易(yi)使人(ren)想起《列(lie)(lie)子(zi)(zi)(zi)·湯問》描寫的(de)(de)(de)詹(zhan)何善(shan)釣(diao)(diao)(diao):“詹(zhan)何以獨繭絲為(wei)(wei)(wei)綸,芒針為(wei)(wei)(wei)鉤(gou),荊條為(wei)(wei)(wei)竿(gan),剖(pou)粒為(wei)(wei)(wei)餌(er),引盈車(che)之(zhi)(zhi)(zhi)(zhi)(zhi)魚(yu)(yu)于百仞之(zhi)(zhi)(zhi)(zhi)(zhi)淵(yuan),汩流之(zhi)(zhi)(zhi)(zhi)(zhi)中(zhong),綸不(bu)(bu)(bu)(bu)(bu)絕,鉤(gou)不(bu)(bu)(bu)(bu)(bu)伸(shen),竿(gan)不(bu)(bu)(bu)(bu)(bu)撓(nao)。”兩者的(de)(de)(de)相似(si),是(shi)顯而(er)易(yi)見的(de)(de)(de)。《列(lie)(lie)子(zi)(zi)(zi)》過去被(bei)定為(wei)(wei)(wei)偽作。現有可(ke)(ke)靠的(de)(de)(de)材料證明(ming),并非如此,大(da)概(gai)是(shi)戰國中(zhong)期偏晚的(de)(de)(de)著(zhu)作。如此,則(ze)宋(song)玉《釣(diao)(diao)(diao)賦(fu)(fu)》受(shou)了《列(lie)(lie)子(zi)(zi)(zi)》的(de)(de)(de)啟發與(yu)影(ying)(ying)響,可(ke)(ke)以斷定。另外(wai),宋(song)玉《釣(diao)(diao)(diao)賦(fu)(fu)》描寫的(de)(de)(de)玄(xuan)(xuan)淵(yuan)善(shan)釣(diao)(diao)(diao),還會(hui)使人(ren)想起《莊子(zi)(zi)(zi).外(wai)物(wu)》中(zhong)描寫的(de)(de)(de)任公子(zi)(zi)(zi)之(zhi)(zhi)(zhi)(zhi)(zhi)釣(diao)(diao)(diao):“任公子(zi)(zi)(zi)為(wei)(wei)(wei)大(da)鉤(gou)巨緇,五十牿以為(wei)(wei)(wei)餌(er),蹲乎(hu)會(hui)稽(ji),投(tou)竿(gan)東(dong)海(hai)(hai),旦(dan)旦(dan)而(er)釣(diao)(diao)(diao),期年不(bu)(bu)(bu)(bu)(bu)得魚(yu)(yu)。已而(er)大(da)魚(yu)(yu)食之(zhi)(zhi)(zhi)(zhi)(zhi),牽(qian)巨鉤(gou),銘沒(mei)而(er)下騖,揚(yang)而(er)奮髫,白波(bo)若山(shan),海(hai)(hai)水震(zhen)蕩,聲侔鬼神,憚赫千里(li)。任公子(zi)(zi)(zi)得若魚(yu)(yu),離而(er)臘之(zhi)(zhi)(zhi)(zhi)(zhi),自制河以東(dong),蒼梧以北,莫不(bu)(bu)(bu)(bu)(bu)厭若魚(yu)(yu)者。已而(er)后(hou)世輇(quan)才諷說之(zhi)(zhi)(zhi)(zhi)(zhi)徒,皆驚而(er)相告(gao)也。”任公子(zi)(zi)(zi)毫不(bu)(bu)(bu)(bu)(bu)著(zhu)意,反而(er)釣(diao)(diao)(diao)得大(da)魚(yu)(yu),這和玄(xuan)(xuan)淵(yuan)“因(yin)(yin)水勢而(er)施之(zhi)(zhi)(zhi)(zhi)(zhi),頡之(zhi)(zhi)(zhi)(zhi)(zhi)頏(hang)之(zhi)(zhi)(zhi)(zhi)(zhi),委縱(zong)收(shou)斂,與(yu)魚(yu)(yu)沉浮(fu)。及其解弛,因(yin)(yin)而(er)獲(huo)之(zhi)(zhi)(zhi)(zhi)(zhi)”的(de)(de)(de)神乎(hu)其神的(de)(de)(de)釣(diao)(diao)(diao)魚(yu)(yu)技藝多么相似(si)啊!
宋玉辭賦的謀篇布局有(you)的也(ye)明(ming)顯受了(le)《莊子》和《列子》的影響。
清浦銑《復小齋賦話》卷下云:“宋玉(yu)(yu)《釣(diao)賦》,可為諷諫法,當與莊(zhuang)子《說(shuo)劍(jian)(jian)》篇(pian)參(can)看。”宋玉(yu)(yu)《釣(diao)賦》將釣(diao)分為“玄妣(bi)釣(diao)”、“堯舜禹湯之(zhi)釣(diao)”、“大(da)王之(zhi)釣(diao)”三(san)種。《莊(zhuang)子·說(shuo)劍(jian)(jian)篇(pian)》嘗云劍(jian)(jian)有(you)(you)三(san),有(you)(you)“庶民之(zhi)劍(jian)(jian)”,有(you)(you)“諸侯之(zhi)劍(jian)(jian)”,有(you)(you)“大(da)王之(zhi)劍(jian)(jian)”。因此(ci),宋玉(yu)(yu)賦這種寫法實乃《莊(zhuang)子·說(shuo)劍(jian)(jian)篇(pian)》的翻版。請看《莊(zhuang)子·說(shuo)劍(jian)(jian)篇(pian)》的有(you)(you)關描(miao)寫:文字(zi)略
考古發現(xian)的(de)(de)宋(song)玉(yu)《御(yu)賦(fu)(fu)》亦云“御(yu)有三”,有“鉗且、大丙之御(yu)”、“王良、造父之御(yu)”、“今人之御(yu)”,將御(yu)照樣(yang)分為(wei)(wei)(wei)三種(zhong)。《釣賦(fu)(fu)》、《御(yu)賦(fu)(fu)》與《說劍(jian)(jian)》在結構層次、謀篇(pian)布局上的(de)(de)相(xiang)似,表明道(dao)家文(wen)學對宋(song)玉(yu)的(de)(de)滋潤是很深的(de)(de)。楚文(wen)化(hua)專家張正明先生甚(shen)至認為(wei)(wei)(wei)《說劍(jian)(jian)》實際上是一篇(pian)散(san)體賦(fu)(fu),其作者或(huo)許就是宋(song)玉(yu)。這(zhe)也是富于啟發性的(de)(de)觀點,因為(wei)(wei)(wei)《莊(zhuang)子·說劍(jian)(jian)》與宋(song)玉(yu)賦(fu)(fu)在藝(yi)術風格上的(de)(de)確非常相(xiang)似。
我們(men)再看宋玉的《風賦》:文字略(lve)。
元(yuan)代郭(guo)翼《雪履齋筆記》云:“古來繪(hui)(hui)風(feng)(feng)手,莫如宋(song)玉(yu)(yu)雌雄之論。”宋(song)玉(yu)(yu)《風(feng)(feng)賦(fu)》確是(shi)一篇描寫風(feng)(feng)的名賦(fu),而在(zai)宋(song)玉(yu)(yu)之前,莊(zhuang)子也對風(feng)(feng)有過精(jing)彩的描繪(hui)(hui)。這就是(shi)《莊(zhuang)子·齊(qi)物論》中所寫的著名的“天籟”和“地(di)籟”:文(wen)字略
從骨子(zi)里看(kan),宋(song)(song)玉《風(feng)(feng)賦》將風(feng)(feng)分為(wei)“雄(xiong)風(feng)(feng)”與“雌風(feng)(feng)”,實(shi)脫胎于《莊子(zi)·齊物論(lun)》將風(feng)(feng)分為(wei)“天(tian)籟(lai)”和(he)“地(di)籟(lai)”。但莊子(zi)所描(miao)(miao)寫的(de)“天(tian)籟(lai)”與“地(di)籟(lai)”與宋(song)(song)玉所描(miao)(miao)寫的(de)“雄(xiong)風(feng)(feng)”與“雌風(feng)(feng)”,在藝術上卻各有千秋。這(zhe)主要(yao)是因為(wei)宋(song)(song)玉借(jie)鑒了莊子(zi)的(de)寫法,又(you)注(zhu)意了翻(fan)新出(chu)奇(qi)。
另外,清(qing)代(dai)南宮邢氏珍藏本《宋玉集》卷下(xia)“對(dui)問(wen)類”有宋玉《對(dui)或人問(wen)》一篇,內容文字略。
據此書(shu)書(shu)末所附《采輯古書(shu)考》云,此文(wen)(wen)(wen)系錄(lu)自(zi)“劉(liu)向《新序》卷(juan)五”,今傳本(ben)西漢(han)劉(liu)向所著《新序·雜事(shi)第(di)五》正好有此段文(wen)(wen)(wen)字。這是(shi)一(yi)篇記錄(lu)宋(song)(song)玉軼事(shi)的(de)(de)(de)作(zuo)品,嚴(yan)格說來,不(bu)能算是(shi)宋(song)(song)玉的(de)(de)(de)作(zuo)品。不(bu)過,從《文(wen)(wen)(wen)選》卷(juan)四五所載宋(song)(song)玉《對楚王問》,其(qi)類似文(wen)(wen)(wen)字亦(yi)見于劉(liu)向《新序·雜事(shi)第(di)一(yi)》來看,又未嘗不(bu)可(ke)以(yi)作(zuo)宋(song)(song)玉作(zuo)品看待(dai),至少其(qi)中(zhong)宋(song)(song)玉所說的(de)(de)(de)話是(shi)可(ke)以(yi)當(dang)宋(song)(song)玉作(zuo)品看待(dai)的(de)(de)(de)。文(wen)(wen)(wen)章(zhang)通過玄媛處“桂林之(zhi)中(zhong)”和處“枳棘之(zhi)中(zhong)”兩種絕(jue)然(ran)不(bu)同處境(jing)的(de)(de)(de)對比(bi)描寫,表現(xian)了(le)自(zi)己“處勢不(bu)便(bian)”、懷(huai)才不(bu)遇的(de)(de)(de)牢騷(sao)與(yu)憤懣。文(wen)(wen)(wen)章(zhang)構思(si)明顯脫胎于《莊(zhuang)子(zi)·山木》中(zhong)的(de)(de)(de)莊(zhuang)子(zi)對魏(wei)王問:文(wen)(wen)(wen)字略。
將(jiang)宋(song)(song)玉的對(dui)(dui)或(huo)人(ren)問(wen)和莊子(zi)的對(dui)(dui)魏(wei)王(wang)問(wen)一(yi)對(dui)(dui)照(zhao),布局謀篇、遣詞造句都非(fei)常相似,不過宋(song)(song)玉立意要含蓄些。
宋玉有的(de)作(zuo)品甚(shen)(shen)至從立意謀篇(pian)到(dao)寓言(yan)故事都(dou)脫(tuo)胎于(yu)《莊子》。例如(ru)《對(dui)楚王(wang)問》。楚襄王(wang)問宋玉說(shuo)(shuo):“先(xian)生其(qi)有遺(yi)行與?何(he)士民眾庶不(bu)譽之(zhi)甚(shen)(shen)也?”宋玉回答說(shuo)(shuo):“唯,然,有之(zhi)。愿(yuan)大(da)王(wang)寬其(qi)罪,使得(de)畢(bi)其(qi)辭。”他先(xian)說(shuo)(shuo)了(le)在楚國首都(dou)郢都(dou)一次音樂演出的(de)情況:
客有歌(ge)于郢中(zhong)者(zhe)(zhe),其(qi)(qi)始曰《下里》《巴人(ren)》,國(guo)(guo)(guo)中(zhong)屬(shu)而(er)(er)和(he)者(zhe)(zhe)數(shu)千人(ren);其(qi)(qi)為(wei)《陽阿》《薤露(lu)》,國(guo)(guo)(guo)中(zhong)屬(shu)而(er)(er)和(he)者(zhe)(zhe)數(shu)百人(ren);其(qi)(qi)為(wei)《陽春》《白雪(xue)》,國(guo)(guo)(guo)中(zhong)屬(shu)而(er)(er)和(he)者(zhe)(zhe),不過數(shu)十人(ren);引(yin)商(shang)刻羽,雜以流徵,國(guo)(guo)(guo)中(zhong)屬(shu)而(er)(er)和(he)者(zhe)(zhe),不過數(shu)人(ren)而(er)(er)已。是其(qi)(qi)曲彌(mi)高,其(qi)(qi)和(he)彌(mi)寡。
這里將欣(xin)賞(shang)音樂的人分為幾(ji)個層次,似(si)乎是《老子(zi)》第(di)四(si)十一章:
上士聞(wen)道,勤而行之(zhi);中(zhong)士聞(wen)道,若(ruo)存若(ruo)亡;下(xia)士聞(wen)道,大笑之(zhi),不(bu)笑,不(bu)足以為道。故建言有(you)之(zhi):明道若(ruo)昧(mei)……太白(bai)若(ruo)辱,廣德若(ruo)不(bu)足……
的(de)(de)形象(xiang)表現。張松(song)輝博士認為宋玉“客有歌于郢中者”云(yun)云(yun)這則故(gu)事,其思(si)想內容脫(tuo)胎于《莊子·天地》所云(yun):“大(da)聲不入于里(li)耳,《折揚》《皇(huang)苓》,則嗑然而笑。是故(gu)高(gao)言(yan)不止于眾人之心,至(zhi)言(yan)不出(chu),俗(su)言(yan)勝也。”宋玉不過給(gei)予了潤(run)色加(jia)工而已。而接著的(de)(de)寓言(yan)故(gu)事:
故(gu)鳥有鳳(feng)(feng)而魚有鯤。鳳(feng)(feng)凰上擊九千(qian)里,絕云霓,負蒼天,翱(ao)翔乎杳(yao)冥之(zhi)上。夫(fu)蕃籬之(zhi)鸚,豈能與(yu)之(zhi)料天地之(zhi)高哉(zai)?鯤魚朝(chao)發(fa)昆侖(lun)之(zhi)墟,暴髫于(yu)碣石(shi),暮宿(su)于(yu)孟諸(zhu)。夫(fu)尺澤(ze)之(zhi)鯢,豈能與(yu)之(zhi)量(liang)江海(hai)之(zhi)大(da)哉(zai)!
分明是(shi)《莊(zhuang)子(zi)·逍(xiao)遙游》中(zhong)的(de)(de)鯤鵬與斥鷯寓言(yan)故事的(de)(de)改寫(xie)。但莊(zhuang)子(zi)運用(yong)這(zhe)個寓言(yan)是(shi)說明大(da)到鯤鵬,小到斥鶿,都(dou)是(shi)“有(you)待”的(de)(de),都(dou)并不(bu)(bu)逍(xiao)遙,只有(you)“乘(cheng)天地之(zhi)正(zheng),而御六氣之(zhi)辯(bian),以游無(wu)窮者”,才是(shi)“無(wu)待”的(de)(de),才是(shi)逍(xiao)遙的(de)(de)。所(suo)以他說:“至(zhi)人無(wu)己(ji),神人無(wu)功,圣人無(wu)名(ming)。”而宋玉在《對楚王問》中(zhong)引用(yong)這(zhe)個寓言(yan),則是(shi)說自己(ji)是(shi)魚中(zhong)的(de)(de)鯤,鳥中(zhong)的(de)(de)鵬,世(shi)俗之(zhi)民則是(shi)蕃籬之(zhi)鸚(ying)、尺(chi)澤(ze)之(zhi)鯢,自己(ji)和世(shi)俗之(zhi)民本來就不(bu)(bu)是(shi)一個層(ceng)次上的(de)(de)人,因而不(bu)(bu)可能被(bei)世(shi)俗之(zhi)民理(li)解。
戰國時代(dai)流行一種語(yu)言(yan)游(you)戲,即“大(da)言(yan)”與“小言(yan)”。《莊(zhuang)子(zi)(zi)》和《列子(zi)(zi)》中(zhong)即頗(po)多“大(da)言(yan)”與“小言(yan)”。宋玉(yu)(yu)也創(chuang)作(zuo)了《大(da)言(yan)賦(fu)》與《小言(yan)賦(fu)》,描(miao)寫了楚襄王令景差、唐勒(le)、宋玉(yu)(yu)比說“大(da)言(yan)”與“小言(yan)”的情況,其中(zhong)所言(yan)許多即化用(yong)《老子(zi)(zi)》《莊(zhuang)子(zi)(zi)》與《列子(zi)(zi)》中(zhong)的語(yu)句。如《小言(yan)賦(fu)》中(zhong),唐勒(le)所言(yan):“析飛(fei)糠以為輿,剖秕糟以為舟,泛然投乎杯(bei)水中(zhong),淡若巨海(hai)之(zhi)洪流”,即脫胎于《莊(zhuang)子(zi)(zi)·逍遙游(you)》:“覆杯(bei)水于坳(ao)堂之(zhi)上(shang),則(ze)芥為之(zhi)舟。”宋玉(yu)(yu)所言(yan):
無(wu)內之(zhi)(zhi)中,微物潛(qian)生(sheng)。比之(zhi)(zhi)無(wu)象,言之(zhi)(zhi)無(wu)名。蒙(meng)蒙(meng)滅景,昧昧遺形。超(chao)于(yu)大虛之(zhi)(zhi)域,出于(yu)未兆之(zhi)(zhi)庭。纖(xian)于(yu)毳末之(zhi)(zhi)微蔑,陋于(yu)茸毛之(zhi)(zhi)方生(sheng)。視之(zhi)(zhi)則(ze)眇眇,望之(zhi)(zhi)則(ze)冥冥。離朱為之(zhi)(zhi)嘆悶,神(shen)明不能察其情琶二子之(zhi)(zhi)言,磊磊皆不小(xiao),何如此之(zhi)(zhi)為精?
這樣充(chong)滿東方神秘主義的精彩描寫(xie),亦是(shi)道家的筆(bi)調。猶《列子(zi)》所(suo)(suo)言(yan):“江浦(pu)之(zhi)(zhi)間生麼蟲,……離朱子(zi)羽方拭(shi)皆揚眉而望之(zhi)(zhi),勿見其形。”亦猶《老(lao)子(zi)》第十(shi)四章(zhang)(zhang)所(suo)(suo)言(yan):“視之(zhi)(zhi)不(bu)見,名(ming)日(ri)夷;聽之(zhi)(zhi)不(bu)聞(wen),名(ming)日(ri)希;搏(bo)之(zhi)(zhi)不(bu)得,名(ming)日(ri)微(wei),此三者不(bu)可致詰……繩(sheng)繩(sheng)不(bu)可名(ming),復歸于無(wu)(wu)物(wu)(wu),是(shi)謂無(wu)(wu)狀(zhuang)之(zhi)(zhi)狀(zhuang)、無(wu)(wu)物(wu)(wu)之(zhi)(zhi)象。”和第二十(shi)一章(zhang)(zhang)所(suo)(suo)言(yan):“道之(zhi)(zhi)為(wei)物(wu)(wu),惟倪(ni)惟惚(hu)(hu),倪(ni)兮(xi)(xi)惚(hu)(hu)兮(xi)(xi),其中(zhong)有(you)物(wu)(wu);惚(hu)(hu)兮(xi)(xi)倪(ni)兮(xi)(xi),其中(zhong)有(you)象;窈(yao)兮(xi)(xi)冥(ming)兮(xi)(xi),其中(zhong)有(you)精。”以及第四十(shi)三章(zhang)(zhang)所(suo)(suo)言(yan):“無(wu)(wu)有(you)入無(wu)(wu)間。”