《诗经》学史上两大公案发覆

The Rediscovery on the Two Intricate Cases in the Study History of The Book of Songs

回顾《诗经》学史,不难发现,《诗经》大致经历了三个阶段:一是《诗经》的形成阶段,以孔子整理《诗经》为标志;二是《诗经》作为经学的阶段,以西汉立学官为标志;三是《诗经》作为文学即民歌的阶段,以“五四”为标志。《诗经》不是民歌,而且根本不属于文学作品,它是周朝礼乐制度的产物,“五四”以前,《诗经》一直是作为儒家文化的一种载体而存在和传播的。这才是《诗经》的根本性质和本来面目。后世或出于否定儒家传统、否定传统经学而把它当作文学作品来看待;或忽视《诗经》产生的真实背景及其作用,站在后世立场曲解《诗经》性质,留下两大公案,即《诗经》到底是不是民歌以及楚风为何阙如。

The study history of ＂the Book of Songs＂ has experienced three stages. They are the formation stage, which takes ＂The Book of Songs＂ arranged by Confucian as sign firstly. Secondly, the Confucian Classics, which takes the establishment of official rank in the Western Han Dynasty as sign; thirdly, literary works which takes ＂the Movement of May 4^th＂ as sign. ＂The Book of Songs＂ is not folk song or literary works at all. It is the outcome of ceremonial music system in Zhou Dynasty. ＂The Book of Songs＂ existed and communicated as a medium of Confucian Culture before ＂May 4^th. Nowadays, There has been two intricate cases which are whether it is folk song or not and why there is not Chu Spirit in ＂the Book of Songs＂.