口头传统与文人创作——以楚辞的诗歌生成为中心

Oral Tradition and Literati Creativity:With a Focus on the Poetic Genesis of the Chuci

"集体"创作的早期诗歌如何发展演变成文人的创作,楚辞的诗歌生成给我们的研究提供了有益的启示。楚辞重复的诗句占《楚辞章句》全书诗句总数的12%左右,这并非个别的修辞现象,而是诗歌的创作方式。楚辞"重著"的言说方式,是口头文学到文人书面创作过渡的遗迹。楚辞叙述的"代言"的艺术构思方式,显示了屈原诗歌借用楚巫的仪式题材和形式。但是仪式形式和口头传统只是诗人创作的材料和手段,诗人的艺术个性和自觉的创作方式才赋予了楚辞文人作家创作的面貌。屈原在民间口头传统的基础上创造了骚体,其创造性的贡献包括骚体六言诗型的建构、骚体诗的节奏设计、歌的形态与诗的艺术转换,推进了口头传统向文人创作的转换。从楚辞的言说方式、仪式语境的创作方式、诗歌体式中可以认识早期诗歌生成中口头传统与文人创作之间的关系。

The poetic genesis of the Chuci provides inspiration for research on the way the'collective'creation of early poetry developed into the work of literati.The fact that repeated lines in the Chuci account for 12% or so of the total in the Chuci Zhangjuis not an individual rhetorical phenomenon but a mode of poetic creation.The discursive'repetitive'style in the Chuci is a relic of the transition from oral literature to works composed by literati.The artistic conception of'speaking through someone'in Chuci narration shows that Qu Yuan's poems borrowed the ritual themes and forms of Chu shamanistic ritual.But ritual forms and oral tradition were simply materials and tactics in poetic creation;it was poets' artistic individuality and conscious creative forms that shaped the creative emergence of the literati authors of Chuci.Qu Yuan created the Li Sao style on the basis of oral folk tradition;his creative contribution includes the construction of the six-word prosody and rhythmic design of the Li Sao style,the song form and artistic poetic transformation,and impetus for the transition from oral tradition to literati composition.The relations between the Chuci discourse mode,ritual context and poetic style enable us to understand the relations between oral tradition and literati creation in the genesis of early poems.