漢賦以巨麗閎侈著稱，然六朝以來，詩畫「特忌形貌彩章，歷歷具足」，漢賦遂飽受忽視與誤解。蓋漢代散體賦乃以對話框架包覆大量鋪陳，本文認為其框架反映出五行學說思維模式，暨賦家建構理想秩序之衷；其鋪陳則具有空間性鮮明、情采激昂等特質。箇中空間部分，本文發現漢賦空間感為上下俯仰、左右擺盪之節奏化表現，與抒情詩直線伸之美感有所不同，此或為現代讀者難以賞愛漢賦之關鍵。出漢賦之中，舉凡車駕、宮室、郊禮，每有神話之描寫，實乃塑造帝王神化的權威。漢賦雖已兩千年之遙，惟其權力與符號之依違，文士之職責與矛盾，今日觀之，仍觸人深省。

Han fu (rhapsody) is known for its lengthy narrative and magnificent structure. For a very long period ever since the Six Dynasties, however, Han fu was neglected or even misconceived thanks to the dominance of the view that “aesthetic excesses” of arts and literature should be discouraged. Focusing on the dialogic framework within which the elaborated narrative of Han fu is embedded, this article argues that the framework itself often bears the imprint of xuxing (five elements) worldview and reflects the author’s motive to construct an ideal order, whereas the narrativon within it is characterized by a distinctive sense of spatiality, as well as by powerful emotions and eloquent articulations.A crucial finding of this article is that the “spatiality” conveyed in Han fu is a rhythmic expression which moves around in a three-dimensioanal space, a kind of beauty which differs significantly from the linear beauty in lyrics. Such difference might explain modern readers’ indifference toward Han fu. In addition, the article points out that in its choice of images and depictions of rituals, Han fu often incorporates mythological materials, thus lending itself to the deification of imperial authority. Taken as a whole, Han fu may help us reflect upon the complex interrelation between power and symbols, as well as the literati’s responsibilities and their contratdictions.