摘要
传统关于《九歌》是屈原在楚国民间祭祀乐曲基础上创作而成的认识并不全面。《九歌》中有海岱东夷族虞舜时代的《韶》乐、中原华夏族禹启时代的《虬歌》、春秋战国时期各诸侯国的生命生育祭歌,以及流传于楚地的山川祭歌等不同层面。这些不同区域、不同族属的远古史诗祭歌,原本只在本血缘组织内部世代流传,至春秋战国时期由于血缘管理的瓦解、地缘管理的出现,才开始在部族外广泛交流融合。楚国特殊的历史渊源、楚怀王一统天下的雄心、屈原所处时代及其巫史身份等因素,使得《九歌》经屈原之手成套编组并加工润色成为可能。《九歌》的价值不仅在于传承融合了远古部族文化,还体现在经过转化创新而成为中华民族经典的高峰,深刻影响此后两千多年中华传统文化的发展。
The traditional understanding that the ISine Songu(JUge九歌)were composed by Qu Yuan on the basis of sacrificial folk music is not telling the whole story.The Nine Songs comprise the shh〇music of the Dongyi people in the Haidai region from the age of Yu Shun;the of the Huaxia people in the Central Plains during the days of the great Yu and Qi;the sacrificial songs of vassal states in the Spring and Autumn and the Warring States periods;and popular sacrificial music from the Chu mountains.The ancient sacrificial songs of different regions and tribes were originally disseminated through kinship groups from generation to generation in remote antiquity.They only spread beyond the tribe through contacts occurring when kinship organization collapsed,to be replaced by geopolitical organization.The particular historical origin of Chu state and King Huai of Chu5s ambition to unify the whole country under his rule;the period in which Qu Yuan lived;and his role as a Wushi(巫史)or shaman were all factors that enabled him to compose and polish the Nine Songs.Their value lies in the fact that they not only inherit and integrate ancient tribal culture but also represent the acme of the Chinese nation’s classical literature,whence their enduring influence over more than two thousand years of traditional Chinese culture.
出处
《中国社会科学》
CSSCI
北大核心
2018年第5期160-184,207,208,共26页
Social Sciences in China
基金
国家社科基金项目"考古发现与先秦史诗
颂诗"(13BZW046)
教育部重点基地项目"齐鲁文化与中华文明"(16JJD720022)
山东省泰山学者项目研究成果
