《离骚》是屈原的代表作,对于其文体特征的论析,前贤已做得很多,多从句式、语助词“兮”字的运用以及意象、语辞等方面着手,也谈得比较充分。然而从《离骚》创作构思角度来探求其文体特征者,并不很多。事实上,从创作构思视角探求《离骚》的文体特征,不但能够探究我国早期文学文体形成的思维脉络,而且有益于《离骚》文本的解读。一、主人公非屈原及屈原托言于巫屈原曾是楚怀王时期的左徒,也做过三闾大夫,博闻强志、娴于辞令,是当时楚国乃至整 Li Sao is a masterpiece of Qu Yuan. For the analysis of his stylistic features, the predecessors have done a great deal and started with more sentence patterns, the use of the word “Xi”, the use of images and words, etc. full. However, there are not many people who seek their stylistic features from the perspective of the creation of Li Sao. In fact, exploring the stylistic features of Li Sao from the perspective of creative conception not only explores the thinking context of the formation of early literary genres in China, but also benefits the interpretation of Li Sao. First, the protagonist non-Qu Yuan and Qu Yuan prophecy in the witch Qu Yuan used to be the only puppet of the Chu Huai period, but also made three Lu doctor, Bo Wen Qiang Zhi, Xian in the resignation was Chu and even the whole