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《大雅·文王》诗文本中的祭祖叙事,为历代治诗者所重视。不过,受制于《大雅》成诗后是仪式上演唱的乐歌这一传统看法,该叙事自身所指涉的仪式结构却被遮蔽。将此祭祖叙事纳入先秦语境还原,发现它实际指涉周天子祭祖仪式,对应于祝献辞、尸献嘏和献祼三环节。诗文本祭祖叙事与原初祭祖仪式相比较,有仪节上的时序错位现象,它本质上是一种仪式转码,可理解为有助实现乐歌乐教功能的叙事策略。据此,可证实周天子祭祖仪式之搬演,乃《文王》原初仪式形态,并非乐歌,而乐歌则是原初祭祖仪式的诗学变形。
The narrative of worshiping ancestors in the poem text of “Daya · Wenwang” is valued by ancient poets in history. However, subject to the traditional view of singing music after the “Daya” into poetry, the ritual structure referred to by the narrative itself is obscured. This ancestor narrative into Pre-Qin context reduction, found that it actually refers to the ancestor ritual of the Zhou emperor, corresponding to the wish to give his speech, corpse, sacrifice and sacrifice three links. Compared with the original sacrificial ceremony, the narrative of poem and textual ancestor worship has the phenomenon of dislocation of timing in the ritual. It is essentially a transcoding of ritual and can be interpreted as a narrative tactic that can help fulfill the function of music and music education. Accordingly, it can be confirmed that the act of worshiping the ancestor of the Zhou emperor’s Son is the original ritual form of the “King of Man”, which is not a song of music, while the song of music is the poetic distortion of the original sacrificial ceremony.