舞赋溯源追溯舞赋之源,须涉及宋玉、傅毅同名《舞赋》。章樵《古文苑》之《舞赋注》辨伪:“傅毅《舞赋》,《文选》已载全文,唐人欧阳询简节其辞,编之《艺文类聚》,此篇是也。后人好事者,以前有楚襄、宋玉相唯诺之辞,遂指为玉作,其实非也。”与傅毅《舞赋》相比,宋玉《舞赋》存疑较大,学界争论较多,多数学者因考虑赋作完整性问题,均以傅毅《舞赋》为汉代乐舞赋之代表。笔者以为傅毅《舞赋》已形成舞赋类较成熟的结构程式。但仅就舞赋而言,笔者却赞同《楚辞》为舞赋滥觞之说。刘勰《文心雕龙·诠赋》言屈原《离骚》开始对声音和容 The origin of dance tracing back to the source of dance, to be involved Song Yu, Fu Yi the same name “Dance Fu.” Zhang Qiao “Ancient Wengyuan” of the “Dan Fu Note” Discrimination: “Fu Yi” Fu Fu “,” Wen Xuan “has been published in full text, Yes, descendants of good things, formerly Chu Xiang, Song Yu Xiang only Connaught’s speech, then refers to as jade, in fact, not also. ”Fu Fu“ Fu ”, Song Yu“ Fu ”doubtful , There are many controversies in the academic field. Most scholars consider “Fu” as the representative of music and dance in the Han Dynasty because of their consideration of fussiness. I believe that Fu Yi “Dance Fu” has formed a more mature class structure of Fu Fu. But only on the Fu Fu, the author agrees with the “Chu” for the dance. Liu Xie “Wen Xin Diao Long Quan interpretation” Qu Yuan “Lisao” began to sound and tolerance