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与楚地盛行淫祀而兴“楚辞”类似,吴越之地亦因媚顺鬼神而兴神弦歌。吴越的神弦歌与楚地的“楚辞”风貌绝不类似,然而中晚唐人在接受吴越神弦歌的过程中,却出现了以“楚辞”写神弦歌辞的现象,由此而促成了楚骚精神的复苏。换言之,不是现实的楚地文化,而是现实的吴越文化促成了楚骚精神的复苏。这主要是因为,唐人接触了现实中的吴越神弦歌,却不能深入把握,故而以经典读物“楚辞”作为创作时首选的借鉴对象,从而创作出了“楚辞化”的吴越神弦歌辞。这种现象的出现,体现了诗乐关系的一种特殊类型:在不能或没有充分把握现实乐歌的条件下,文人相关的曲辞创作主要因袭于类似的古辞;而音乐对于诗歌的影响,就主要表现为一种间接的、曲折的中介,而不是直接的原因。
Similar to the prevalence of obscene and Chu Chu Xing “Chu Ci ” is similar to the land of Wu Yue also due to meizhen ghosts and gods. However, in the process of accepting the Wu and Yue gods in the middle and late Tang dynasties, there appeared the phenomenon of writing “Shen chong song” with “Chu Ci” from This led to the revival of the spirit of Chu Sao. In other words, not the reality of the Chu culture, but the reality of the Wu and Yue cultures contributed to the revival of the spirit of Chu. This is mainly because the Tang people came into contact with the actual Wu and Yue gods, but they can not grasp it in depth. Therefore, taking the classic reading “Chu Ci” as the reference object of their choice for creation, they created the “Chu Songhua” Wu Yue God string lyrics. The appearance of this phenomenon embodies a special type of relationship between poetry and music: under the condition of not being able to fully grasp the reality of music, the creation of the literature related to the literati mainly comes from similar ancient Ci. The influence of music on poetry, It is mainly manifested as an indirect, tortuous intermediary, not the direct cause.