从舞容与颂诗的关系看《大武》在典礼中的运用

On the Function of Da Wu in Ceremonies-the Relationships between Dancing Appearance and Odes

《大武》舞容与颂诗内容之间的关系并不紧密,学者从舞容所代表的意义去考察《大武》所用颂诗的方法是不合适的。《礼记》孔子与宾牟贾的对话、《左传》"季札观乐"、诸侯各国对《大武》的僭越行为等,都说明《大武》舞容与所用颂诗之间存在一定的游离关系。从舞容与颂诗之间游离的角度来看《大武》的用诗情况,会更加清晰明了。在具体的祭祖典礼中,从三献起开始演奏《大武》乐,《周颂》中的祭祖诗根据不同的祭祀种类和对象进行分分合合。在"九献"之内,《大武》作为祭祖诗的背景音乐,并不限制或影响新的祭祖诗的产生。"九献"之后,天子亲帅群臣舞《大武》,此时歌唱《维清》、《武》、《酌》三首诗。

Dancing appearance and odes in Da Wu are not closely related.It is not proper to observe the function of odes according to the meaning of dancing appearance.The dialogue of Confucius and Bin Moujia in Li Ji,＂Ji Zha Guan Yue＂ in Zuo Zhuan,and arrogations of Da Wu in feudal kingdoms illustrate that the dancing appearance and odes in Da Wu are related dissociatively.This is a better and clarified perspective to consider their relationships.In some ceremony of ancestor worship,Da Wu is started after ＂three libations＂;ancestor worship poems are deconstructed and reconstructed according to different categories and objects of sacrifice in Zhou Song.During the ＂nine libations＂,Da Wu functions as the background music of ancestor worship poem;new poems are not limited by it.The emperor leads all officials to dance Da Wu after the ＂nine libations＂,accompanying with three poems of Wei Qing,Wu and Zhuo.