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在一般文学史或赋史研究著作中,对汉赋发展的描述常以骚体赋、大赋和抒情小赋为顺序展开,然而这并不符合汉赋发展的实际。因为东汉末年的抒情小赋与西汉初年的骚体赋可以说是汉代抒情言志赋在不同时期的不同形态。而与抒发“士不遇”情结的抒情言志赋一样,苑猎京都大赋和咏物赋在汉代也有一条贯穿始终的发展线索。而且赋家常选择不同的体式表达不同的情感需要。因此我们认为有必要对以上三种汉赋体式的类别流变过程逐一进行区分和细究,即以汉赋三种体式的类别流变来描述汉赋的发展。
In general literary history or Fu history research works, the description of the development of Han Fu is often carried out in the order of Li Style Fu, Dai Fu and Lyrical Xiao Fu. However, this does not fit the reality of the development of Han Fu. Because the late Eastern Han Dynasty lyric Xiaofu and the early Western Han Dynasty Fu can be said that the lyric sentiments of Han Dynasty in different periods of different forms. And express lyrical “Shi Buyu” complex of lyrical affair Fu Yuan, Court hunting Kyoto Da Fu and Chai Wu Fu in the Han Dynasty also has a consistent clues to development. And Fu often choose different ways to express different emotional needs. Therefore, we think that it is necessary to distinguish and study the above three types of Han-style rheology by one by one, that is, to describe the development of Han-fu by the three categories of Han-fu.