1. 当然从司马相如、扬雄到班固、张衡，他们各自的苑猎京都大赋在摄取现实社会时的角度各有不同，因此其赋作中颂扬、讽谏、说理的内容与方式亦各有异，但却终始与时代精神相互契合发明。
But from Simaxiangru, Yangxiong to Bangu, Zhangheng, their writings have different point of view for society, therefore the pattern of Songyong, Fengjian and Shuoli have different way in Yuanliejingdu Fu.
2. 王勃的赋继承了大赋的恢弘，又不乏小赋的灵秀，体物写志铺采擒文，结构恢宏文采清丽。
Wang Bo Fu of the Fu inherited qualities, but also many small to give the Ling xiu, physical objects Zhi Writing Shop Escapement text mining, structural magnificent Qingli Wencai.
3. 本文将汉赋大致分为三个发展阶段：骚体赋，散体大赋，小赋。
In this essay, I mainly explore the development of Fu in the Han dynasty.
4. 他所谓的音乐和条件，指的不是贝多芬、瓦格纳和其他德国音乐伟大传统继承人善于表现的大赋
By the condition of Pater wasn't referring to the expressive genius of Beethoven, Wagner or the other inheritors of the great''.
5. 大赋在线翻译
5. 这些作品不但在结构和表现手法上对西汉大赋有所继承和发扬，而且在内容和风格上也有空前的突破，把汉大赋的创作推向新的高峰。
These Fu works not only carried forward the structure and ways of expression in west Han Dynasty but made unprecedented breakthrough in both contents and styles, thus reaching the highest peak of Fu in west Han Dynasty.
6. 汉代最重要的宫怨赋出於大赋作家之手，产生於汉大赋全盛期，但其叙述的视角和取像的特点却对抒情小赋具有极大的示范作用。
Most important palace subject matters is composed by great writers, coming Irvin the heyday of Han Dynasty, but it narrate and can't fetch visual angle like characteristic to the more lyrical.
7. 对汉大赋而言，文人徒有兼顾美、刺之念，终于只能将刺、美二端分置于大赋的评论和创作两个方面。
Most of them just achieved beauty in their own writings and criticalness in their critics on others'work.
8. 与大赋在汉代文坛的洪涛泱漭相比，抒情赋的出现使得汉赋的创作摆脱了沉重的身躯，找到了轻盈的感觉，从而发射出更为夺目的光芒，蕴含着更为深厚的艺术能量。
Compared with the situation the narrative Fu surge forward in billowy waves in Fu field, the appearance of汉代抒情赋略论lyrical Fu makes composing of Fu get rid of the heavy body and find the slim and graceful feeling, thus launch out more brilliant rays, contain deeper artistic energy.
9. 而此阶段的文学主流开始从铺扬都市游猎的大赋转向描绘庄园山水的诗歌，正好与社会经济的这一发展进程相合。
Social turmoil, centralization are weakened seriously, the manorial economy of the landlord with very strong...
10. 大赋发生于汉初，直接动因有二：其一，入汉士人出于天生的社会责任心，不忘刺世；又面对从未有过的盛世，油然而生颂美。
However, to those writers, despite their intention to make their work both critical and beautiful, scarcely could they achieve a combination of both effects.
11. 贾谊的赋，沉郁忧愤而又气贯长虹，上继屈宋骚赋、下开班马大赋，是战国骚体赋向西汉大赋过渡的重要一环。
His rhyme prose, melancholy and indignant as well as full of noble aspiration and daring, was an important link during the transition of style from the Sao style rhyme prose to the Ode style of the Former Han Dynasty.
12. 论汉初经济复苏与大赋兴起的关系
On the Relationship between the Recovery of Economy in Early Period of Han Dynasty and the Rising of Da Fu
13. 而此阶段的文学主流开始从铺扬都市游猎的大赋转向描绘庄园山水的诗歌，正好与社会经济的这一发展进程相合。
And this stages literature mainstream is it raise whom travel around city hunt heavy to compose to describe poem, manor of mountains and rivers paving to begin, just develop process to shut with this one of social economy.
14. 文学上，则是铺张扬厉的大赋让位于经术化散文，作家的创造力衰退，文学逐渐成为经学的附庸。
On literature, it changes from the descriptive prose interspersed with verse to Confucian Classics on literature.