關(guan)于宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)的(de)生(sheng)平，據《史記·屈原(yuan)(yuan)賈生(sheng)列(lie)傳(chuan)(chuan)(chuan)》載："屈原(yuan)(yuan)既(ji)死(si)之后，楚(chu)(chu)(chu)(chu)有(you)(you)(you)(you)宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)、唐勒、景差之徒者(zhe)，皆(jie)好辭(ci)而(er)以(yi)賦見稱(cheng)。然皆(jie)祖屈原(yuan)(yuan)之從容辭(ci)令，終(zhong)莫敢直諫。"記述(shu)極(ji)為簡(jian)略。《韓詩外傳(chuan)(chuan)(chuan)》有(you)(you)(you)(you)"宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)因其友而(er)見楚(chu)(chu)(chu)(chu)相"之言。劉向《新序》則(ze)作(zuo)"宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)因其友以(yi)見楚(chu)(chu)(chu)(chu)襄(xiang)王(wang)(wang)"，"事楚(chu)(chu)(chu)(chu)襄(xiang)王(wang)(wang)而(er)不(bu)見察"，同時(shi)又有(you)(you)(you)(you)"楚(chu)(chu)(chu)(chu)威王(wang)(wang)(襄(xiang)王(wang)(wang)的(de)祖父)問于宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)"的(de)話(hua)。王(wang)(wang)逸(yi)在(zai)《楚(chu)(chu)(chu)(chu)辭(ci)章句》中則(ze)說他是(shi)屈原(yuan)(yuan)的(de)弟(di)子。晉代(dai)習鑿(zao)齒《襄(xiang)陽耆舊傳(chuan)(chuan)(chuan)》又說："宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)者(zhe)，楚(chu)(chu)(chu)(chu)之鄢人也，故宜城有(you)(you)(you)(you)宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)，始事屈原(yuan)(yuan)，原(yuan)(yuan)既(ji)放逐(zhu)，求事楚(chu)(chu)(chu)(chu)友景差。"總之，關(guan)于宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)的(de)生(sheng)平，眾說紛紜(yun)，至難(nan)分曉。大體(ti)上(shang)說，宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)當(dang)生(sheng)在(zai)屈原(yuan)(yuan)之后，是(shi)為戰(zhan)國時(shi)期(qi)宋(song)(song)(song)(song)(song)(song)(song)國公(gong)子，因父子矛盾而(er)出(chu)走楚(chu)(chu)(chu)(chu)國，今(jin)存有(you)(you)(you)(you)宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)城遺址，相傳(chuan)(chuan)(chuan)宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)在(zai)臨(lin)澧生(sheng)活47年，留下了(le)大量辭(ci)賦作(zuo)品以(yi)及傳(chuan)(chuan)(chuan)說故事，當(dang)地有(you)(you)(you)(you)宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)墓、九辯書院，還(huan)有(you)(you)(you)(you)不(bu)少與宋(song)(song)(song)(song)(song)(song)(song)玉(yu)(yu)(yu)有(you)(you)(you)(you)關(guan)的(de)地名傳(chuan)(chuan)(chuan)說等故事。
關于宋玉師(shi)(shi)承(cheng)，普遍認(ren)為(wei)他師(shi)(shi)承(cheng)屈(qu)(qu)原(yuan)(yuan)(yuan)。但也(ye)有(you)學者認(ren)為(wei)王逸晚于屈(qu)(qu)原(yuan)(yuan)(yuan)200年后才(cai)說宋玉是(shi)屈(qu)(qu)原(yuan)(yuan)(yuan)弟子是(shi)沒有(you)依(yi)據(ju)的，是(shi)其把“祖(zu)（承(cheng)襲(xi)、效法(fa)）屈(qu)(qu)原(yuan)(yuan)(yuan)”理解為(wei)“師(shi)(shi)從屈(qu)(qu)原(yuan)(yuan)(yuan)”了。
最早(zao)據(ju)《漢書·藝(yi)文(wen)(wen)(wen)志》載，有16篇(pian)。現今相(xiang)傳為(wei)他所(suo)作(zuo)(zuo)的，《九辯(bian)》、《招(zhao)魂》兩篇(pian)，見(jian)(jian)于(yu)(yu)王逸《楚辭章句》；《風賦(fu)》、《高(gao)唐(tang)(tang)賦(fu)》、《神(shen)(shen)女賦(fu)》、《登(deng)徒子(zi)好色賦(fu)》、《對楚王問》 5篇(pian)，見(jian)(jian)于(yu)(yu)蕭統《文(wen)(wen)(wen)選》；《笛(di)賦(fu)》、《大言賦(fu)》、《小(xiao)言賦(fu)》、《諷(feng)賦(fu)》、《釣賦(fu)》、《舞賦(fu)》 6篇(pian)，見(jian)(jian)于(yu)(yu)章樵《古(gu)文(wen)(wen)(wen)苑》；《高(gao)唐(tang)(tang)對》、《微詠賦(fu)》、《郢(ying)中對》 3篇(pian)，見(jian)(jian)于(yu)(yu)明代劉節《廣文(wen)(wen)(wen)選》。但(dan)這些作(zuo)(zuo)品(pin)，真偽(wei)相(xiang)雜，可信而(er)無(wu)異(yi)議的只有《九辯(bian)》一(yi)篇(pian)。《招(zhao)魂》頗(po)多爭議，一(yi)般認為(wei)是屈(qu)原(yuan)所(suo)作(zuo)(zuo)。其他如(ru)《高(gao)唐(tang)(tang)賦(fu)》、《神(shen)(shen)女賦(fu)》、《登(deng)徒子(zi)好色賦(fu)》、《風賦(fu)》等篇(pian)在(zai)文(wen)(wen)(wen)學史上的地位是相(xiang)當重(zhong)要(yao)的。
宋(song)玉的(de)(de)成就雖然難與(yu)(yu)(yu)屈(qu)原(yuan)相比(bi)，但他(ta)(ta)是屈(qu)原(yuan)詩歌藝術的(de)(de)直接繼(ji)承者。在他(ta)(ta)的(de)(de)作(zuo)品(pin)中，物象的(de)(de)描繪趨于細(xi)膩工致，抒情(qing)與(yu)(yu)(yu)寫(xie)景結合得自然貼切， 在楚(chu)辭(ci)與(yu)(yu)(yu)漢賦之間，起著(zhu)承前啟后(hou)的(de)(de)作(zuo)用。后(hou)人多(duo)以屈(qu)宋(song)并稱，李白(bai)曾(ceng)說“屈(qu)宋(song)長逝，無堪與(yu)(yu)(yu)言”，可見宋(song)玉在文學史上的(de)(de)地(di)位。
在藝術思(si)想體系上(shang)，宋玉(yu)深受道家(jia)文(wen)學(xue)的影(ying)響(xiang)(xiang)。他許多辭賦(fu)從遣詞造句到(dao)謀篇布(bu)局、從立(li)意構思(si)到(dao)運用寓言(yan) 都深受 《老子》《莊(zhuang)子》《列子》的濡染，特(te)別是“恢詭譎怪”的莊(zhuang)子散文(wen)對宋玉(yu)影(ying)響(xiang)(xiang)更大(da)。
道(dao)家文學對宋玉(yu)的(de)(de)(de)濡染道(dao)家學派的(de)(de)(de)開山祖師是(shi)老(lao)子(zi)(zi)。宋玉(yu)的(de)(de)(de)辭(ci)賦創作(zuo)受了老(lao)子(zi)(zi)《道(dao)德經》(即(ji)《老(lao)子(zi)(zi)》)的(de)(de)(de)沾溉。宋玉(yu)描寫(xie)男女性愛，即(ji)明(ming)顯受了老(lao)子(zi)(zi)的(de)(de)(de)影響(xiang)。道(dao)家文學在(zai)語言運用上沖破(po)了這(zhe)一禁區，常用富(fu)有(you)性感的(de)(de)(de)語言闡(chan)述和表(biao)現(xian)玄理。《老(lao)子(zi)(zi)》贊揚(yang)嬰兒(er)，‘未(wei)知(zhi)牝(pin)牡之合(he)而(er)全(按：一作(zuo)膠，指小孩生殖器)作(zuo)’(第(di)55章(zhang))，把嬰兒(er)的(de)(de)(de)這(zhe)種(zhong)本能看作(zuo)是(shi)天(tian)性精純的(de)(de)(de)表(biao)現(xian)。他在(zai)強調以(yi)靜為本時還說(shuo)過：‘牝(pin)常以(yi)靜勝牡，以(yi)靜為下。’(第(di)61章(zhang))這(zhe)是(shi)用雌雄交(jiao)配的(de)(de)(de)例子(zi)(zi)說(shuo)明(ming)以(yi)靜勝動、以(yi)柔克剛。類似(si)語言對于言必稱禮書禮義的(de)(de)(de)鄒魯之士、播紳先生來說(shuo)，是(shi)絕不肯(ken)啟齒的(de)(de)(de)。”宋玉(yu)正是(shi)繼承了老(lao)子(zi)(zi)大膽(dan)地進行描寫(xie)的(de)(de)(de)傳統，在(zai)《招魂(hun)》《高唐(tang)賦》《神女賦》《登(deng)徒(tu)子(zi)(zi)好色賦》《諷賦》等作(zuo)品中真實自(zi)然(ran)地表(biao)現(xian)了男女。
宋玉辭(ci)賦中(zhong)(zhong)有(you)(you)(you)些句(ju)(ju)式，明顯脫胎于《道(dao)德(de)(de)(de)經(jing)》。游(you)(you)國恩先(xian)(xian)生(sheng)說：“今按《道(dao)德(de)(de)(de)經(jing)》中(zhong)(zhong)，大半是(shi)(shi)(shi)韻文(wen)(wen)，極似(si)一種散文(wen)(wen)詩歌。而(er)其(qi)中(zhong)(zhong)又有(you)(you)(you)特別的(de)(de)兩(liang)章，例如(ru)(ru)(ru)第十五章云： ‘豫兮(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)若(ruo)(ruo)(ruo)畏(wei)四鄰，儼(yan)兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)(ruo)(ruo)容，渙兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)冰之(zhi)將(jiang)釋(shi)，．敦兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)(ruo)(ruo)樸，曠兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)(ruo)(ruo)谷，混兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)其(qi)若(ruo)(ruo)(ruo)濁(zhuo)。’又第二十一章云：‘孔(kong)德(de)(de)(de)之(zhi)容，惟(wei)(wei)道(dao)是(shi)(shi)(shi)從(cong)。道(dao)之(zhi)為物(wu)，惟(wei)(wei)恍惟(wei)(wei)惚。惚兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)恍兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，其(qi)中(zhong)(zhong)有(you)(you)(you)象；恍兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)惚兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，其(qi)中(zhong)(zhong)有(you)(you)(you)物(wu)。窈兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)冥兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，其(qi)中(zhong)(zhong)有(you)(you)(you)精，其(qi)精甚真(zhen)，其(qi)中(zhong)(zhong)有(you)(you)(you)信。’這(zhe)些句(ju)(ju)子不但有(you)(you)(you)韻，而(er)且很像楚(chu)辭(ci)的(de)(de)先(xian)(xian)驅；因(yin)為它們(men)很有(you)(you)(you)‘騷(sao)體(ti)’的(de)(de)風(feng)味。……所(suo)以(yi)(yi)我們(men)可(ke)以(yi)(yi)說老子是(shi)(shi)(shi)南方學術的(de)(de)鼻祖，同(tong)時又是(shi)(shi)(shi)楚(chu)辭(ci)的(de)(de)禰祖。游(you)(you)先(xian)(xian)生(sheng)指(zhi)出《道(dao)德(de)(de)(de)經(jing)》具(ju)有(you)(you)(you)楚(chu)騷(sao)風(feng)味，自是(shi)(shi)(shi)不刊之(zhi)論。不過(guo)，值得(de)注意的(de)(de)是(shi)(shi)(shi)，游(you)(you)先(xian)(xian)生(sheng)所(suo)舉《道(dao)德(de)(de)(de)經(jing)》第十五章那樣(yang)的(de)(de)句(ju)(ju)式，在(zai)宋玉作(zuo)品中(zhong)(zhong)卻(que)有(you)(you)(you)，而(er)且模(mo)仿(fang)的(de)(de)非常像。如(ru)(ru)(ru)宋玉《九辯(bian)》開頭在(zai)“悲哉，秋之(zhi)為氣也”之(zhi)后，即用(yong)了一組與《道(dao)德(de)(de)(de)經(jing)》相同(tong)的(de)(de)帶(dai)“兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)”字(zi)的(de)(de)比喻句(ju)(ju)來描(miao)寫蒼涼的(de)(de)秋景：“蕭瑟兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，草木(mu)搖落而(er)變衰。慷栗(li)兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，若(ruo)(ruo)(ruo)在(zai)遠行，登山I陸水兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，送(song)將(jiang)歸。次寥兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，天高(gao)(gao)而(er)氣清(qing)。寂(ji)寥兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)，收潦而(er)水清(qing)。……”宋玉在(zai)賦作(zuo)中(zhong)(zhong)描(miao)寫人物(wu)形象也常用(yong)此類(lei)句(ju)(ju)式。如(ru)(ru)(ru)《高(gao)(gao)唐賦》描(miao)寫神女(nv)的(de)(de)形象：“其(qi)始出也，時兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)松樹；其(qi)少(shao)進也，哲兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)姣姬。……忽兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)改容，偈兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)若(ruo)(ruo)(ruo)駕駟馬，建羽旗。湫兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)如(ru)(ru)(ru)風(feng)，凄兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)如(ru)(ru)(ru)雨。”《神女(nv)賦》中(zhong)(zhong)也是(shi)(shi)(shi)如(ru)(ru)(ru)此：“曄兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)如(ru)(ru)(ru)華，溫(wen)乎(hu)如(ru)(ru)(ru)瑩(ying)”；“忽兮(xi)(xi)(xi)(xi)(xi)(xi)(xi)(xi)改容，婉若(ruo)(ruo)(ruo)游(you)(you)龍乘(cheng)云翔”，等(deng)(deng)等(deng)(deng)。
道家學派的(de)(de)經(jing)典《莊子(zi)(zi)》和《列子(zi)(zi)》對宋(song)玉的(de)(de)影響就大(da)了(le)，尤其是《莊子(zi)(zi)》。
宋(song)玉(yu)辭(ci)賦描(miao)寫(xie)刻(ke)劃人(ren)物有的(de)(de)(de)明(ming)(ming)顯(xian)(xian)受了(le)《莊子(zi)(zi)(zi)(zi)》和《列(lie)子(zi)(zi)(zi)(zi)》的(de)(de)(de)影響。例如(ru)(ru)，宋(song)玉(yu)《釣(diao)賦》、描(miao)寫(xie)的(de)(de)(de)玄(xuan)淵善釣(diao)：“夫玄(xuan)淵釣(diao)也(ye)，以(yi)三(san)(san)尋之(zhi)(zhi)(zhi)(zhi)竿，八(ba)絲之(zhi)(zhi)(zhi)(zhi)綸(lun)，餌若蛆蚓，鉤(gou)(gou)如(ru)(ru)細針(zhen)(zhen)，以(yi)出三(san)(san)尺之(zhi)(zhi)(zhi)(zhi)魚(yu)(yu)(yu)(yu)于數仞之(zhi)(zhi)(zhi)(zhi)水(shui)中(zhong)(zhong)，豈(qi)可謂(wei)無術乎?夫玄(xuan)淵，芳水(shui)餌，掛(gua)繳(jiao)鉤(gou)(gou)，其(qi)意不可得(de)，退而(er)(er)(er)(er)(er)牽行(xing)，下(xia)(xia)觸清泥，上則波揚(yang)。玄(xuan)淵因(yin)(yin)水(shui)勢而(er)(er)(er)(er)(er)施之(zhi)(zhi)(zhi)(zhi)，頡之(zhi)(zhi)(zhi)(zhi)頏(hang)之(zhi)(zhi)(zhi)(zhi)，委縱(zong)收斂(lian)，與魚(yu)(yu)(yu)(yu)沉浮(fu)。及其(qi)解(jie)弛，因(yin)(yin)而(er)(er)(er)(er)(er)獲之(zhi)(zhi)(zhi)(zhi)。”很容(rong)易使人(ren)想(xiang)起《列(lie)子(zi)(zi)(zi)(zi)·湯(tang)問》描(miao)寫(xie)的(de)(de)(de)詹何善釣(diao)：“詹何以(yi)獨繭絲為綸(lun)，芒針(zhen)(zhen)為鉤(gou)(gou)，荊條為竿，剖(pou)粒為餌，引盈車之(zhi)(zhi)(zhi)(zhi)魚(yu)(yu)(yu)(yu)于百仞之(zhi)(zhi)(zhi)(zhi)淵，汩流之(zhi)(zhi)(zhi)(zhi)中(zhong)(zhong)，綸(lun)不絕，鉤(gou)(gou)不伸(shen)，竿不撓。”兩者的(de)(de)(de)相(xiang)似，是(shi)顯(xian)(xian)而(er)(er)(er)(er)(er)易見的(de)(de)(de)。《列(lie)子(zi)(zi)(zi)(zi)》過去被定為偽作。現有可靠的(de)(de)(de)材料證明(ming)(ming)，并非如(ru)(ru)此，大概(gai)是(shi)戰國中(zhong)(zhong)期偏晚的(de)(de)(de)著(zhu)作。如(ru)(ru)此，則宋(song)玉(yu)《釣(diao)賦》受了(le)《列(lie)子(zi)(zi)(zi)(zi)》的(de)(de)(de)啟(qi)發與影響，可以(yi)斷定。另外，宋(song)玉(yu)《釣(diao)賦》描(miao)寫(xie)的(de)(de)(de)玄(xuan)淵善釣(diao)，還會使人(ren)想(xiang)起《莊子(zi)(zi)(zi)(zi)．外物》中(zhong)(zhong)描(miao)寫(xie)的(de)(de)(de)任公子(zi)(zi)(zi)(zi)之(zhi)(zhi)(zhi)(zhi)釣(diao)：“任公子(zi)(zi)(zi)(zi)為大鉤(gou)(gou)巨緇，五十牿以(yi)為餌，蹲乎會稽(ji)，投竿東海(hai)，旦旦而(er)(er)(er)(er)(er)釣(diao)，期年不得(de)魚(yu)(yu)(yu)(yu)。已(yi)而(er)(er)(er)(er)(er)大魚(yu)(yu)(yu)(yu)食之(zhi)(zhi)(zhi)(zhi)，牽巨鉤(gou)(gou)，銘(ming)沒而(er)(er)(er)(er)(er)下(xia)(xia)騖(wu)，揚(yang)而(er)(er)(er)(er)(er)奮髫，白波若山，海(hai)水(shui)震蕩，聲(sheng)侔鬼神，憚(dan)赫千里。任公子(zi)(zi)(zi)(zi)得(de)若魚(yu)(yu)(yu)(yu)，離而(er)(er)(er)(er)(er)臘之(zhi)(zhi)(zhi)(zhi)，自制河以(yi)東，蒼(cang)梧(wu)以(yi)北，莫不厭(yan)若魚(yu)(yu)(yu)(yu)者。已(yi)而(er)(er)(er)(er)(er)后世輇才諷說之(zhi)(zhi)(zhi)(zhi)徒，皆驚(jing)而(er)(er)(er)(er)(er)相(xiang)告也(ye)。”任公子(zi)(zi)(zi)(zi)毫(hao)不著(zhu)意，反而(er)(er)(er)(er)(er)釣(diao)得(de)大魚(yu)(yu)(yu)(yu)，這和玄(xuan)淵“因(yin)(yin)水(shui)勢而(er)(er)(er)(er)(er)施之(zhi)(zhi)(zhi)(zhi)，頡之(zhi)(zhi)(zhi)(zhi)頏(hang)之(zhi)(zhi)(zhi)(zhi)，委縱(zong)收斂(lian)，與魚(yu)(yu)(yu)(yu)沉浮(fu)。及其(qi)解(jie)弛，因(yin)(yin)而(er)(er)(er)(er)(er)獲之(zhi)(zhi)(zhi)(zhi)”的(de)(de)(de)神乎其(qi)神的(de)(de)(de)釣(diao)魚(yu)(yu)(yu)(yu)技藝多么相(xiang)似啊!
宋玉辭賦的謀(mou)篇布局有的也明顯受了《莊子(zi)》和《列子(zi)》的影(ying)響。
清浦銑(xian)《復小齋(zhai)賦話》卷(juan)下(xia)云(yun)：“宋(song)玉《釣(diao)賦》，可為諷諫法(fa)，當與莊(zhuang)子(zi)《說(shuo)劍(jian)(jian)(jian)》篇(pian)(pian)參看(kan)。”宋(song)玉《釣(diao)賦》將釣(diao)分為“玄妣釣(diao)”、“堯(yao)舜禹湯之(zhi)(zhi)釣(diao)”、“大王之(zhi)(zhi)釣(diao)”三種。《莊(zhuang)子(zi)·說(shuo)劍(jian)(jian)(jian)篇(pian)(pian)》嘗云(yun)劍(jian)(jian)(jian)有(you)(you)三，有(you)(you)“庶(shu)民之(zhi)(zhi)劍(jian)(jian)(jian)”，有(you)(you)“諸侯(hou)之(zhi)(zhi)劍(jian)(jian)(jian)”，有(you)(you)“大王之(zhi)(zhi)劍(jian)(jian)(jian)”。因此，宋(song)玉賦這(zhe)種寫法(fa)實乃《莊(zhuang)子(zi)·說(shuo)劍(jian)(jian)(jian)篇(pian)(pian)》的(de)翻版。請看(kan)《莊(zhuang)子(zi)·說(shuo)劍(jian)(jian)(jian)篇(pian)(pian)》的(de)有(you)(you)關描寫：文(wen)字略
考古發(fa)現(xian)的(de)宋(song)玉(yu)《御(yu)(yu)(yu)賦(fu)》亦云“御(yu)(yu)(yu)有(you)(you)三”，有(you)(you)“鉗且、大丙(bing)之御(yu)(yu)(yu)”、“王良(liang)、造父之御(yu)(yu)(yu)”、“今人之御(yu)(yu)(yu)”，將御(yu)(yu)(yu)照樣分(fen)為(wei)(wei)三種。《釣賦(fu)》、《御(yu)(yu)(yu)賦(fu)》與《說(shuo)(shuo)劍(jian)》在結構(gou)層次、謀篇布(bu)局上(shang)的(de)相似，表明(ming)道家文學對宋(song)玉(yu)的(de)滋(zi)潤是很深的(de)。楚文化專家張正(zheng)明(ming)先生甚至認(ren)為(wei)(wei)《說(shuo)(shuo)劍(jian)》實際上(shang)是一篇散體賦(fu)，其作者或(huo)許就是宋(song)玉(yu)。這也是富于啟發(fa)性的(de)觀點，因為(wei)(wei)《莊子·說(shuo)(shuo)劍(jian)》與宋(song)玉(yu)賦(fu)在藝術風格上(shang)的(de)確非常相似。
我們(men)再看宋玉的《風賦(fu)》：文字略。
元代郭(guo)翼《雪(xue)履齋(zhai)筆記(ji)》云：“古來繪風(feng)手，莫如(ru)宋玉雌雄之論。”宋玉《風(feng)賦》確(que)是一篇描(miao)寫風(feng)的(de)名賦，而在宋玉之前，莊(zhuang)子也(ye)對風(feng)有(you)過精彩的(de)描(miao)繪。這就是《莊(zhuang)子·齊物(wu)論》中所寫的(de)著名的(de)“天(tian)籟(lai)”和“地籟(lai)”：文字略
從骨子(zi)里看，宋(song)玉《風(feng)(feng)賦》將風(feng)(feng)分為(wei)“雄風(feng)(feng)”與(yu)“雌風(feng)(feng)”，實脫胎(tai)于《莊(zhuang)(zhuang)子(zi)·齊物論》將風(feng)(feng)分為(wei)“天籟”和“地籟”。但莊(zhuang)(zhuang)子(zi)所描(miao)寫的(de)“天籟”與(yu)“地籟”與(yu)宋(song)玉所描(miao)寫的(de)“雄風(feng)(feng)”與(yu)“雌風(feng)(feng)”，在藝術上(shang)卻各有(you)千秋。這主要是因(yin)為(wei)宋(song)玉借鑒(jian)了(le)莊(zhuang)(zhuang)子(zi)的(de)寫法，又注(zhu)意(yi)了(le)翻(fan)新出奇。
另(ling)外，清代南宮邢(xing)氏珍藏本《宋(song)玉集》卷下(xia)“對問類”有宋(song)玉《對或人(ren)問》一(yi)篇，內(nei)容文字略。
據(ju)此書書末所(suo)附《采(cai)輯古(gu)書考(kao)》云，此文(wen)(wen)(wen)系錄(lu)自“劉(liu)向(xiang)《新序》卷五(wu)”，今(jin)傳本(ben)西漢劉(liu)向(xiang)所(suo)著(zhu)《新序·雜(za)事第(di)五(wu)》正(zheng)好有此段文(wen)(wen)(wen)字。這是(shi)一(yi)篇記錄(lu)宋(song)玉(yu)軼事的(de)(de)(de)作(zuo)品，嚴格說來，不(bu)(bu)能(neng)算是(shi)宋(song)玉(yu)的(de)(de)(de)作(zuo)品。不(bu)(bu)過(guo)，從(cong)《文(wen)(wen)(wen)選》卷四(si)五(wu)所(suo)載宋(song)玉(yu)《對(dui)楚王問》，其類似(si)文(wen)(wen)(wen)字亦(yi)見于劉(liu)向(xiang)《新序·雜(za)事第(di)一(yi)》來看，又未嘗不(bu)(bu)可以作(zuo)宋(song)玉(yu)作(zuo)品看待，至少其中(zhong)宋(song)玉(yu)所(suo)說的(de)(de)(de)話是(shi)可以當宋(song)玉(yu)作(zuo)品看待的(de)(de)(de)。文(wen)(wen)(wen)章通過(guo)玄媛處(chu)“桂林之中(zhong)”和(he)處(chu)“枳(zhi)棘之中(zhong)”兩種(zhong)絕然不(bu)(bu)同處(chu)境的(de)(de)(de)對(dui)比描(miao)寫，表現(xian)了(le)自己“處(chu)勢(shi)不(bu)(bu)便(bian)”、懷才(cai)不(bu)(bu)遇的(de)(de)(de)牢騷與(yu)憤懣。文(wen)(wen)(wen)章構思明(ming)顯脫胎于《莊子·山(shan)木(mu)》中(zhong)的(de)(de)(de)莊子對(dui)魏王問：文(wen)(wen)(wen)字略(lve)。
將宋玉的對(dui)或人問(wen)和莊子的對(dui)魏王問(wen)一對(dui)照，布局謀篇(pian)、遣詞(ci)造句都非常相似，不過宋玉立意(yi)要(yao)含蓄些。
宋(song)(song)玉有(you)的作品甚至從(cong)立意(yi)謀(mou)篇到寓言故(gu)事都(dou)(dou)脫(tuo)胎(tai)于《莊子》。例(li)如《對(dui)楚王(wang)問(wen)》。楚襄(xiang)王(wang)問(wen)宋(song)(song)玉說(shuo)(shuo)：“先生其(qi)有(you)遺行與?何士民(min)眾庶(shu)不譽(yu)之甚也?”宋(song)(song)玉回答說(shuo)(shuo)：“唯，然(ran)，有(you)之。愿(yuan)大王(wang)寬其(qi)罪，使得畢(bi)其(qi)辭。”他(ta)先說(shuo)(shuo)了在楚國首都(dou)(dou)郢(ying)都(dou)(dou)一次音樂演出的情況：
客(ke)有(you)歌于郢中(zhong)(zhong)(zhong)(zhong)者，其(qi)始(shi)曰《下里》《巴人(ren)》，國(guo)中(zhong)(zhong)(zhong)(zhong)屬(shu)而和(he)者數千人(ren)；其(qi)為(wei)《陽阿》《薤露》，國(guo)中(zhong)(zhong)(zhong)(zhong)屬(shu)而和(he)者數百人(ren)；其(qi)為(wei)《陽春》《白雪》，國(guo)中(zhong)(zhong)(zhong)(zhong)屬(shu)而和(he)者，不過數十人(ren)；引商刻羽，雜以(yi)流徵，國(guo)中(zhong)(zhong)(zhong)(zhong)屬(shu)而和(he)者，不過數人(ren)而已。是其(qi)曲彌高(gao)，其(qi)和(he)彌寡。
這(zhe)里將欣賞音樂的人分為幾個層次，似乎是《老子》第(di)四(si)十一(yi)章：
上士聞(wen)道(dao)，勤而行(xing)之(zhi)(zhi)；中士聞(wen)道(dao)，若(ruo)(ruo)存若(ruo)(ruo)亡；下士聞(wen)道(dao)，大(da)笑(xiao)之(zhi)(zhi)，不笑(xiao)，不足以為道(dao)。故(gu)建言有之(zhi)(zhi)：明道(dao)若(ruo)(ruo)昧……太白若(ruo)(ruo)辱，廣德若(ruo)(ruo)不足……
的形象表現。張松輝(hui)博士認為宋玉(yu)“客有歌于(yu)(yu)郢(ying)中者(zhe)”云云這則故事(shi)，其思想內容(rong)脫(tuo)胎于(yu)(yu)《莊(zhuang)子(zi)·天地》所云：“大聲不(bu)入于(yu)(yu)里耳(er)，《折(zhe)揚》《皇苓》，則嗑(ke)然而笑。是故高(gao)言(yan)不(bu)止于(yu)(yu)眾人之心，至(zhi)言(yan)不(bu)出，俗言(yan)勝也。”宋玉(yu)不(bu)過給予了潤色加(jia)工(gong)而已。而接(jie)著(zhu)的寓言(yan)故事(shi)：
故鳥有鳳(feng)而魚(yu)有鯤。鳳(feng)凰上(shang)擊九千里，絕(jue)云霓，負蒼天(tian)，翱翔乎杳冥之(zhi)(zhi)(zhi)上(shang)。夫蕃籬之(zhi)(zhi)(zhi)鸚，豈能(neng)與(yu)之(zhi)(zhi)(zhi)料天(tian)地之(zhi)(zhi)(zhi)高(gao)哉(zai)?鯤魚(yu)朝發昆(kun)侖之(zhi)(zhi)(zhi)墟(xu)，暴(bao)髫(tiao)于碣石，暮(mu)宿(su)于孟諸。夫尺澤之(zhi)(zhi)(zhi)鯢，豈能(neng)與(yu)之(zhi)(zhi)(zhi)量江海之(zhi)(zhi)(zhi)大哉(zai)!
分明是(shi)(shi)《莊子·逍遙游(you)》中(zhong)(zhong)的(de)鯤(kun)鵬(peng)(peng)與斥(chi)鷯寓言故事(shi)的(de)改寫。但莊子運用(yong)這個寓言是(shi)(shi)說(shuo)明大到(dao)鯤(kun)鵬(peng)(peng)，小到(dao)斥(chi)鶿，都是(shi)(shi)“有待”的(de)，都并不(bu)逍遙，只有“乘(cheng)天地(di)之(zhi)正，而御六氣之(zhi)辯，以游(you)無窮(qiong)者(zhe)”，才是(shi)(shi)“無待”的(de)，才是(shi)(shi)逍遙的(de)。所(suo)以他說(shuo)：“至人無己(ji)，神(shen)人無功，圣人無名。”而宋玉在《對楚王問》中(zhong)(zhong)引用(yong)這個寓言，則是(shi)(shi)說(shuo)自己(ji)是(shi)(shi)魚中(zhong)(zhong)的(de)鯤(kun)，鳥中(zhong)(zhong)的(de)鵬(peng)(peng)，世(shi)俗之(zhi)民(min)(min)則是(shi)(shi)蕃籬之(zhi)鸚、尺澤之(zhi)鯢，自己(ji)和(he)世(shi)俗之(zhi)民(min)(min)本來就不(bu)是(shi)(shi)一個層次上的(de)人，因而不(bu)可(ke)能被世(shi)俗之(zhi)民(min)(min)理解。
戰國時(shi)代流行一種語言(yan)(yan)(yan)(yan)游戲，即(ji)“大(da)言(yan)(yan)(yan)(yan)”與(yu)(yu)“小(xiao)(xiao)(xiao)言(yan)(yan)(yan)(yan)”。《莊子(zi)》和《列子(zi)》中即(ji)頗多“大(da)言(yan)(yan)(yan)(yan)”與(yu)(yu)“小(xiao)(xiao)(xiao)言(yan)(yan)(yan)(yan)”。宋(song)玉也創作了(le)《大(da)言(yan)(yan)(yan)(yan)賦》與(yu)(yu)《小(xiao)(xiao)(xiao)言(yan)(yan)(yan)(yan)賦》，描(miao)寫了(le)楚襄王令景差、唐勒、宋(song)玉比(bi)說“大(da)言(yan)(yan)(yan)(yan)”與(yu)(yu)“小(xiao)(xiao)(xiao)言(yan)(yan)(yan)(yan)”的情況，其中所(suo)(suo)(suo)言(yan)(yan)(yan)(yan)許(xu)多即(ji)化用《老子(zi)》《莊子(zi)》與(yu)(yu)《列子(zi)》中的語句(ju)。如(ru)《小(xiao)(xiao)(xiao)言(yan)(yan)(yan)(yan)賦》中，唐勒所(suo)(suo)(suo)言(yan)(yan)(yan)(yan)：“析飛糠以為(wei)輿(yu)，剖(pou)秕糟以為(wei)舟(zhou)，泛(fan)然(ran)投乎杯(bei)水中，淡若(ruo)巨海之(zhi)(zhi)洪流”，即(ji)脫胎于(yu)《莊子(zi)·逍遙游》：“覆杯(bei)水于(yu)坳堂之(zhi)(zhi)上(shang)，則芥為(wei)之(zhi)(zhi)舟(zhou)。”宋(song)玉所(suo)(suo)(suo)言(yan)(yan)(yan)(yan)：
無內之(zhi)(zhi)(zhi)(zhi)中，微物潛(qian)生(sheng)。比(bi)之(zhi)(zhi)(zhi)(zhi)無象，言(yan)之(zhi)(zhi)(zhi)(zhi)無名。蒙蒙滅景(jing)，昧昧遺(yi)形(xing)。超于大虛之(zhi)(zhi)(zhi)(zhi)域(yu)，出于未兆之(zhi)(zhi)(zhi)(zhi)庭(ting)。纖(xian)于毳末(mo)之(zhi)(zhi)(zhi)(zhi)微蔑，陋(lou)于茸毛之(zhi)(zhi)(zhi)(zhi)方生(sheng)。視之(zhi)(zhi)(zhi)(zhi)則眇眇，望(wang)之(zhi)(zhi)(zhi)(zhi)則冥冥。離(li)朱為之(zhi)(zhi)(zhi)(zhi)嘆(tan)悶，神明不能察其(qi)情琶二子之(zhi)(zhi)(zhi)(zhi)言(yan)，磊(lei)磊(lei)皆不小，何如此之(zhi)(zhi)(zhi)(zhi)為精?
這樣充滿東方神秘(mi)主義的精(jing)彩描寫，亦是道(dao)家(jia)的筆調。猶《列子》所言(yan)：“江浦之間生麼蟲(chong)，……離朱子羽方拭皆(jie)揚(yang)眉而(er)望(wang)之，勿見其形。”亦猶《老子》第十(shi)(shi)四章所言(yan)：“視之不(bu)見，名(ming)日夷；聽之不(bu)聞，名(ming)日希；搏之不(bu)得(de)，名(ming)日微，此(ci)三(san)者不(bu)可致詰……繩繩不(bu)可名(ming)，復歸于無(wu)(wu)物(wu)，是謂無(wu)(wu)狀之狀、無(wu)(wu)物(wu)之象。”和第二十(shi)(shi)一(yi)章所言(yan)：“道(dao)之為物(wu)，惟(wei)倪(ni)惟(wei)惚，倪(ni)兮(xi)惚兮(xi)，其中有物(wu)；惚兮(xi)倪(ni)兮(xi)，其中有象；窈兮(xi)冥兮(xi)，其中有精(jing)。”以及第四十(shi)(shi)三(san)章所言(yan)：“無(wu)(wu)有入無(wu)(wu)間。”
