《周礼》记载的“六诗”生成于三代礼乐文化,根植于早期巫祭仪式,具有特定的仪式乐舞内涵,其中风诗、赋诗与地方风俗巫祭乐歌及巡守有一定关联;比诗、兴诗与图腾祭仪有关,很可能为祭祀或祈祷庆功等场合的集体唱和乐舞形式;雅诗是先周时期周民族继承夏文化发展而来的综合乐舞形式;颂诗是承夏商宗庙祭神祭祖时诗、乐、舞相综合的诗歌形态。通过巫术祭祀的宗教功能,以及政治教化功能,原本分散的“六诗”个体有意识地被组织起来,融为一体,形成体系。“六诗”大体是融合了乐舞、文辞、诗史以及仪式于一体,具有不同功能的诗歌艺术形态。从横向层面上看,六诗的存在、性质乃至传承内容包括采诗、编诗、教诗等多种形态。从纵向的历史发展角度而言,六诗的形成经过了漫长的历史阶段,并伴随原始宗教祭仪和三代礼乐制度的建设而不断扩容衍生。 “Six Poems” recorded in “Zhou Li” is generated from the three generations of ritual and music culture and is rooted in the ceremony of early Witch-sacrificing Ceremony. It has a specific content of ritual music and dance. Related to poetry, Xing poetry and totem ritual, it is likely to sacrifice or pray for celebration and other occasions, the form of collective singing and dancing; elegant poetry is a week ago Zhou ethnic inheritance Xia culture developed from the form of comprehensive music and dance; Cheng Xia Shizong sacrificial offerings ancestral worship of God, poetry, music, dance synthesis of poetry. Through the religious function of witchcraft worship and the function of political enlightenment, the originally scattered “Six Poems” individuals are consciously organized and integrated to form a system. “Six Poems ” is a poetic art form that integrates music and dance, diction, history of poetry and ritual in one body and has different functions. From a horizontal perspective, the existence, nature and even the inheritance of the six poems include various forms of collecting poetry, composing poems and teaching poems. From the perspective of historical development, the formation of six poems has gone through a long historical period and has been continuously expanded and derived with the construction of primitive religious rituals and the system of rituals and rituals of the third generation.