陈琳早期赋作以大赋为代表,气势飞扬、文采富丽,颇具汉代骋辞大赋特点。归曹后以同题共作的小赋为主,重理性,缺乏激情,不尚文采,与建安文学重抒情、尚华美的主流风气不相谐和,更多地流露出老成持重、但求自保的谨慎,并时时表现出沉稳的儒者风度,自觉担负起政治道德说教的责任。汉大赋式微是一个渐进的过程,大量创制抒情咏物小赋是建安文学新风,长于大赋又积极创作咏物小赋的陈琳正好是汉代赋风与建安新风之间的过渡。陈琳辞赋创作表现出相对保守的文学观,在受经学影响深刻的汉代文学与自由发展的建安文学之间,陈琳赋也具有过渡性。 Chen Lin was originally assigned to Dai as the representative, the momentum of flying, rich and beautiful verse, quite the Han dynasty Cheng Da Fu characteristics. After returning to Cao, he shared the same topic with the same type of Xiaoyu, focusing on rationality, lack of passion, and not yet adopting the same style of writing, which is incompatible with the lyrical and yet gorgeous mainstream culture of Jian’an Literature, Paul cautiously, and from time to time demonstrated a calm Confucian demeanor, consciously assume the responsibility of preaching political morality. Han Dynasty Dawei micro is a gradual process, creating a large number of lyric poetry is a new style of Jian’an literature, is longer than the Da fu and actively create chant Xiaoyu Chen Lin just happened in the Han Dynasty and the security of the wind between the new transition. Chen Lin’s Ci-Fu creation shows a relatively conservative view of literature. Between the Han literature and the Jian’an literature, which is deeply influenced by Confucian classics, Chen Linfu also has a transitional nature.