本文關(guān)鍵詞：清華簡(jiǎn)《周公之琴舞》組詩(shī)的身份確認(rèn)及其詩(shī)學(xué)史意義，由筆耕文化傳播整理發(fā)布。

清華簡(jiǎn)《周公之琴舞》組詩(shī)的身份確認(rèn)及其詩(shī)學(xué)史意義

The Identification and Significance of Tsinghua Bamboo Slips ＂Zhou Gong Zhi Qin Wu＂ in Poetic History

[1] [2]

XU Zheng-ying MA Fang （ School of Liberal Arts, Renmin University of China, Beijing 100872, China）

中國(guó)人民大學(xué)文學(xué)院,北京100872

文章摘要：清華簡(jiǎn)第三冊(cè)《周公之琴舞》存周公毖臣詩(shī)四句、成王自儆詩(shī)九首，是題目、短序、樂(lè)章標(biāo)識(shí)俱全的樂(lè)舞詩(shī)章。成王九首詩(shī)中祀祖、自儆、儆臣內(nèi)容連貫，又符合古詩(shī)樂(lè)以“九”成組篇制結(jié)構(gòu)，還與傳世文本《詩(shī)經(jīng)·周頌》多為組詩(shī)的原初形態(tài)暗合，故九首是一完整的組詩(shī)。其中第一首見(jiàn)于今本《詩(shī)經(jīng)·周頌》的《敬之》篇，故整體為《詩(shī)經(jīng)·周頌》作品無(wú)疑。由短序推知，周公四句詩(shī)原來(lái)是另九首，同屬《詩(shī)經(jīng)·周頌》“逸詩(shī)”。兩組十七首“逸詩(shī)”的詩(shī)學(xué)史意義：一為“孔予刪詩(shī)”公案的最終解決提供了新的支撐，并為其刪詩(shī)“十分去九”提供了文本范例，且啟示人重新理解司馬遷“去其重”的含義不只指刪除重復(fù)詩(shī)篇，還指刪除內(nèi)容相近的詩(shī)篇；二為《毛詩(shī)序》形成時(shí)代的最終解決提供了新證，說(shuō)明《詩(shī)經(jīng)》至遲到戰(zhàn)國(guó)中期已有序；三是揭示了《詩(shī)經(jīng)》“頌”詩(shī)有別于“風(fēng)”、“雅”只唱不舞而詩(shī)樂(lè)舞三位一體的原始特征。

Abstr：＂Zhou Gong Zhi Qin Wu＂ on the Bamboo Slips of the Warring States Period Collected by Tsinghua University, Vol. IIl preserves four sentences of Zhou Gong＇s warning poems and nine warning poems of Emperor Cheng during the Zhou Dynasty. It has title, short preface, and musical signs, the structure of which is a trinity of poetry, music and dance. Emperor Cheng＇s nine poems compose unabridged group poems. This composition accords with the structure of the age-old music, in which each group is formed by nine pieces. The nine poems＇ contents are cohesive The primary pattern of Zhong Song in The Book of Poetry is also the group poems. So the nine poems are complete group poems. The first poem of the group, namely Jing Zhi, is found in Zhou Song of The Book of Songs. So the nine poems in the group should all belong to Zhou Song of The Book of Songs. Also it can be known from the short preface, Zhou Gong originally should have nine poems, which were also the lost poems of The Book of Songs. Here are three points about the poetic historical significance of the seventeen lost poems： first, they provide new support for the remark of Confucius＇ deleting poems, providing text sample for the viewpoint that Confucius deleted poems ninetenths, and weakened the core reason of the negative views. They give new highlight to the viewpoint ＂deleting the duplications,＂ which was put forward by Sima Qian. The viewpoint ＂ deleting the duplications＂ not only means deleting the repeats, but also deleting the ones with similar contents. Second, they provide new evidence for the respond to The Poetics question produced by ＂Mao Shi Xu. ＂ Third, they reveal that Song poetry is different from Feng poetry and Y

文章關(guān)鍵詞：

Keyword：:Tsinghua Bamboo Slips ＂Zhou Gong Zhi Qin Wu＂ lost poems of The Book of Songs Confucius＇deleting poems the epoch when Shi Xu was produced a trinity of poetry, music and dance

課題項(xiàng)目：本文為國(guó)家社科基金項(xiàng)目“先秦出土文獻(xiàn)及佚文獻(xiàn)文藝思想研究”（項(xiàng)目批準(zhǔn)號(hào)：07BZW019）、中國(guó)人民大學(xué)2012年引進(jìn)人才科研啟動(dòng)項(xiàng)目（項(xiàng)目批準(zhǔn)號(hào)：30212101）階段性成果.

  本文關(guān)鍵詞：清華簡(jiǎn)《周公之琴舞》組詩(shī)的身份確認(rèn)及其詩(shī)學(xué)史意義，由筆耕文化傳播整理發(fā)布。