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本文把屈原的《九歌》还原在一个与早期民俗、原始祭祀密切相关的背景下,考察《九歌》与之的关系。首先说明原始九歌的产生,与当时楚地的“信鬼好祠”与“淫奔之风”密切相关,后才被改写为优美的恋歌;然后,结合《九歌》,把《九歌》中提到的“偃蹇”“连蜷”两个重要动作进行分析,画出了“蛙形舞步——淫祀——求雨”这一脉络,并运用了楚地、以及广西等受楚文化影响很深的文化区域的旁证,来说明《九歌》与原始祭祀的密切关系。
This article examines the relationship between the Nine Songs and the Nine Songs of Qu Yuan in a context closely related to the early folk customs and primitive sacrifices. First of all, it shows that the origin of the nine songs is closely related to the “Good Temple of the Good God” and “The Style of the Absurd” of Chu at that time, and then it is rewritten into a beautiful love song. Then, The analysis of the two important movements mentioned in “Nine Songs”, “Yan Yan” and “Lian Cuan”, draws the thread of “frog-dance-obscenity-seeking rain” And used Chu and the circumstantial evidence of cultural areas such as Guangxi that are deeply influenced by the Chu culture to illustrate the close relationship between the Nine Songs and the original worship.