摘要
《楚辞·大招》究竟属于巫觋歌词还是文人诗体的争论，从汉代持续至今，有关该篇产生时代的说法也不一而足。 本文则着眼于《大招》本身，从饮食、乐舞及女色、建筑并苑囿以及美政等四个方面，进行 了系统而具体的分类讨论；同时又以楚墓发掘的考古材料与篇中内容相互印证，并时时取屈 原《招魂》对读比较，从而为上述问题的解决提供了许多 新的启示。其结论为：《大招》产生于南楚政权与巫觋神权紧密结合的较早时期，它所表达 的是一种巫权至上的宗教情感，本质上仍属于实用的招魂歌辞。
The controversy over whether The Songs of the South·Da Zhao is word s of a sorcerer's song or it is a poetic form created by men of letters,has bee n going on from the Han Dynasty till up to now.As to the time when it was produc ed,opinions differ greatly.In this article,however,the attention is centred on Da Zhao itself,and a categoried discussion is made of it systematically and concr etely in terms of four aspects of food;dances with accompaniment and woman's be auty;architectures as well as animal parks;and at the same time what is being di scussed has been verified by comparing with unearthed materials from the tombs o f Chu and with readings of QU Yuan's Calling Back the Spirit of the Dead. Th e co nclusion reached is that Da Zhao was produced in the earlier period of the c lose combination of the Southern Chu regime and the sorcerer's theocracy,and it is in essence practical words of a song expressing religious feelings that the sorc erer's theocracy was supreme.
出处
《西北师大学报（社会科学版）》
北大核心
2002年第1期53-57,共5页
Journal of Northwest Normal University(Social Sciences)
