屈原《九歌》的礼乐属性和韶舞

On the Ritual Nature of Qu Yuan's Nine Songs and the Dance of Shao

韶乐出自帝喾,舜时代进行了改编,礼神对象增添了娥皇、女英,是为干戚舞,因此是武舞性质。殷商时代,伊尹在改编韶乐的时候,增加了善的表现,因此春秋时期孔子观韶时已经尽善尽美。韶乐在秦汉以前一直流行着。楚辞《九歌》是殇祀的礼乐,主要是由韶乐和《国殇》组成。《国殇》九层次十八句,表现九功,就是俗称的"九歌",因此《离骚》有奏"九歌"舞"韶"之说。《国殇》主要是春享不幸死秦的楚怀王,格局为醮诸神,礼太一,这里的太一是虞舜。这样一个祭祀礼乐格局是战国以后流行的娱神方式。

The Music of Shao was created by Di Ku and revised in the time of Shun by adding two extra goddesses of Er Huang and Nv Ying.It was danced with Gan Qi（shield and axe）,so it was regarded as martial dance.In the time of Shang Dynasty,it was added the performance of goodness by Yi Yin.When Confucius watched it during the Spring and Autumn Period,it had already reached the acme of perfection,which had been kept and popularized until the end of Qin and Han dynasties.As a ritual music,Qu Yuan＇s Nine Songs,which contained eighteen sentences with nine hymns for nine achievements,mainly composed of Music of Shao and Chu Ci For Those Fallen for the Country,whose theme was to mourn the King of Chu who died in the Kingdom of Qin.It was a popular ceremony to worship gods especially Tai Yi,who was also known as Yu Shun,after the Warring States.