[原文]
8.2 至如郑庄之赋“大隧”，士蔿之赋“狐裘”，结言短韵，词自己作，虽合赋体，明而未融。及灵均唱《骚》，始广声貌。然则赋也者，受命于诗人，而拓宇于《楚辞》也。于是荀况《礼》《智》，宋玉《风》《钓》，爱锡名号，与诗画境，六义附庸，蔚成大国。[遂]述客主以首引，极声貌以穷文，斯盖别诗之原始，命赋之厥初也。
[今译]
至于像郑庄公的诵“大隧”，士蔿的诵“狐裘”，用少数韵语组成，文辞是自己作的，虽然合于不歌而诵的赋的体裁，只是还没有成熟。到屈原创作《离骚》，开始扩大对声音形貌的描绘。那么赋这种体裁，起源于《诗经》的作者，在《楚辞》里才扩大了疆界。因此芴况的《礼》《智》赋，宋玉的《风賦》《钓赋》，这才给与赋的称号，跟诗划清界限，从诗中“六义”之一的附庸，扩展成为大国。叙述客人主人的对话来开头，极力描写声音形貌来显示文采，这是跟诗分别的开始，称赋的起头。
8.2 Lord Zhuang of Zheng's two-line verse "The Big Tunnel" and Shi Wei's three-line poem "The Fox Fur" are short pieces written for self amusement. They are not rhyme-prose in its mature form, but are very close. Only when Qu Yuan wrote "Encountering Sorrow" did rhyme-prose become a full-fledged genre. The rhyme-prose received its mandate from the Book of Poetry and expanded its territory with the Songs of the South. Thus when Xun Kuang composed "Rites" and "Wisdom" and Song Yu wrote "The Wind" and "The Angler," both called their works rhyme-prose to distinguish them from the Book of Poetry. In this way, the rhyme-prose developed from an appendage of the Book of Poetry into an autonomous genre. A composition in the form of rhyme-prose usually opens with a dialogue between a host and a guest, followed by thorough descriptions of sounds and appearances in all possible rhetorical flourishes. This is how the rhyme-prose branched off from the Book of Poetry and attained its independent status.
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