作　者：易闻晓 杨淑雯
关键词：《楚辞》；楚歌；诗经；四言
摘　要：

楚辞可歌论隐含《诗》《骚》源流论而以前律后，但“楚辞”不是歌辞，而是文辞、辞章。楚辞可歌的意必导致《汉书》“言楚辞”“为楚辞”“诵书”为歌的误读。或以楚辞篇章段   落等同“歌节”，又以楚辞“乱”与“少歌”为歌，实乃反复、总结之义，同于“重”“倡”之用。倘若 “乱”与“少歌”可歌，就须考虑其在全篇不可歌的违逆性或全篇可歌的乐章结构性，二者倶非可能。而楚辞四言与《诗》四言虚字衬贴的“足二”“足四”及重章叠句不同，乃是造语缜密的散语书写，且以长句间破四言，缺乏合乐的句式规范。又“兮”字之用被视为楚辞造语及其可歌的特征，但《诗》用已多，并为《老子》、楚歌及他方之歌所用，都为语助，虽或指为歌唱泛音，也与语助同功。楚歌及楚辞用“兮”所彰显的是个人吟唱的随意散漫，这种吟唱与《诗》整齐划一的句式节奏和诗乐舞的礼乐呈现绝不相侔。在《离骚》一韵两句中仅上句句尾“兮”字拉长导致上下失衡，不同《诗》四言两句为韵适合优婉的咏唱，楚辞“兮”字拉长只是近于口诵的徒歌表证，楚辞也只是以楚歌造语的感觉进行个体自由创制，无须遵循合乐的规范，更不具备《诗》乐舞呈现的条件，也不可能以简单旋律的不断重复徒歌《骚》等长篇。

 

An Argument Against Chu Ci Being Composed for Singing

Yi Wenxiao, Yang Shuwen（Guizhou Normal University）

Abstract  The theory of the sing ableness of Chu Ci (《楚辞》,The Elegies of the Chu) implies that LiSao (《离骚》,The Lament) is originated from Shi Jing (《诗经》,The Book of Songs), assuming the latter precedes and influences the former. However, Chu Ci is not lyrical verses but rather literary compositions or rhetorical expressions. The assumption that Chu Ci is singable inevitably leads to misinterpretations of some phrases in Han Shu (《汉书》, The Book of Han), such as interpreting "speaking Chu Ci"( 言楚辞), "writing Chu Ci"(为楚辞) and "reciting texts"(诵书) as singing. Some treat the chapters and paragraphs in Chu Ci as stanzas of a song, and even regard "Luan" (乱, similar to coda) and "Shao Ge" (少歌, similar to interlude) in Chu Ci as songs, which actually signify repetition and summarization, akin to the functions of "Chong" (重, repetition) and "Chang" (倡, prelude). If "Luan" and "Shao Ge" were singable, one would have to reconcile their incompatibility with the non-singable nature of the entire piece or the structural coherence of a fully singable composition – neither of which is plausible. The four-disyllabic-character lines supplemented by function words via "Zu Er" (足二, using disyllabic structures to supplement syllables) or "Zu Si" (足四, using tetrasyllabic structures to standardize verse forms along with their repetitive stanzas in parts of Shi Jing originated from Chu, differ significantly from those in Chu Ci, which are tightly structured prose-like writing and occasionally intersperse with long sentences to disrupt the rhythmic constraints of four-character lines, making them unsuitable for musical accompaniment. Moreover, the usage of the character "Xi" (兮, a modal particle) is often regarded as the unique linguistic and singable feature of Chu Ci, but it was already prevalent in Shi Jing, Lao Zi (《老子》, Dao De Jing) and the songs of Chu and other regions, serving as a modal particle even if sometimes associated with melodic overtone. “Xi” in songs of Chu and Chu Ci demonstrates the casual and spontaneous personal recitation, utterly different from the uniform rhythmic structure and the ceremonial integration of poetry, music, and dance in Shi Jing. The rhymed couplet in Li Sao loses its balance by the elongated "Xi" at the end of the first line, differing from the four-character couplet which is suitable for the melodious chanting in Shi Jing; the elongated "Xi" in Chu Ci is merely a representation of Tu Ge (徒歌, unaccompanied singing) which is closed to oral recitation. Chu Ci represents individual and free creative expression inspired by the linguistic sensibilities of Chu folk songs without adhering to metrical regularities, having no conditions for the integrated presentation of poetry, music, and dance seen in Shi Jing, or possibilities of reproducing lengthy poems like Li Sao via Tu Ge with repetitions of simple melodies.

Key words  Chu Ci; songs of Chu; Shi Jing; four-character

 

■    作者简介 易闻晓，贵州师范大学文学院教授，贵州 贵阳 550025；杨淑雯，贵州师范大学文学院博士研究生。

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