我在拙著《中國詩體流變》中談到楚歌與楚辭時,曾説:“根據多數文學史家的研究,都認爲楚辭是采用了當時南方的楚歌體,又加以改造變化而成的一種新詩體。”這個論斷似乎是可以成立的。但繼而談到楚辭的代表作《離騷》與《九歌》的關係時,還没能確認定哪一類作品在前。當時我對《九歌》和《離騷》的創作時間,還是遵從王逸的説法,認爲《九歌》是屈原晚年被放到沅、湘之間的作品。王逸的原話説:《九歌》者,屈原之所作也。昔楚國南郢之邑,沅湘之間,其俗信鬼而好祠。其祠,必作歌樂 When I talked about Chu Song and Chu Ci in my book “Evolution of Chinese Poetic Style”, I once said: “According to the research of most literary historians, it is believed that Chu Ci adopted the Chu song style of the South at the time and changed and transformed Into a new style of poetry. ”This conclusion seems to be valid. However, when it comes to the relationship between the representative works of “Li Sao” and “Nine Songs” in Chu Ci, it has not yet been confirmed which type of works are in front. At that time, my time of creation of “Nine Songs” and “Li Sao” still obeyed Wang Yi’s view that “Nine Songs” was the work Qu Yuan had put in his late years between Yuan and Xiang. Wang Yi’s original words: “Nine Songs” who, Qu Yuan also made. Xi Chu country Nanxunzhiyi, between the Yuanxiang, its vulgar letter and a good temple. Its ancestral temple, must make the song music