春秋时期政治生态变迁与赞美诗类型演化——兼论春秋时期赞美诗的诗礼文化内涵
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摘要
春秋时期赞美诗就赞美对象而言,可以分为赞美天子、诸侯、卿大夫和士四种类型,都透露出以"五礼"为主的礼仪制度规范与以"五伦"为主的伦理道德规范,具有丰富的诗礼文化内涵。这些赞美诗类型的演化进程,与政治生态环境——政治思想、政治制度、政治格局、政治风气和社会风气的综合状态与环境密切相关,也就是说社会政治生态变迁促进了赞美诗类型的演化。但就整体状况而言,"论功颂德"的基本特点一直延续,"将顺其美"的创作动机一直未变,"以德配天""敬天保民""尊贤重才"的政治观念依然存在,"教化风人"的基本功能依然如旧,尤其是创作主体以"德政""德行"为中心的价值取向与以"言美"话语为中心的审美观念贯穿始终,彰显出这一时期赞美诗历史性与现实性融合、社会化与政治化结合的基本特质。
In the Spring and Autumn Period, the hymn could be classified as four types: praise to the emperor,praise to princes, praise to officials and praise to scholars. They all revealed the etiquette system norms based on "five rituals" and the ethical and moral norms based on "five ethics," which had rich cultural connotations of poetry and etiquette. The evolutionary process of these types of hymns was closely related to the political ecological environment which included political ideology, political system, political pattern,political atmosphere and social atmosphere. That is to say that the change of social political ecological environment promoted the evolution of the types of hymns. However, as far as the overall situation is concerned, the basic characteristics of "Commenting on Merit and Commending Virtue" had lasted, the creative motivation of "Compliance with Beauty" had not changed, the political concepts of "matching Virtue with Heaven," "respecting Heaven and protecting the people" and "respecting talents" existed,and the basic function of "educating people" remained the same. Especially, the value orientation centered on "benevolent rule" and "moral conduct" and the aesthetic concept centered on "beauty of speech"remained influential throughout the period. The hymns in this period were manifested as the combinations of historicity and reality,and of socialization and politicization.
In the Spring and Autumn Period, the hymn could be classified as four types: praise to the emperor,praise to princes, praise to officials and praise to scholars. They all revealed the etiquette system norms based on "five rituals" and the ethical and moral norms based on "five ethics," which had rich cultural connotations of poetry and etiquette. The evolutionary process of these types of hymns was closely related to the political ecological environment which included political ideology, political system, political pattern,political atmosphere and social atmosphere. That is to say that the change of social political ecological environment promoted the evolution of the types of hymns. However, as far as the overall situation is concerned, the basic characteristics of "Commenting on Merit and Commending Virtue" had lasted, the creative motivation of "Compliance with Beauty" had not changed, the political concepts of "matching Virtue with Heaven," "respecting Heaven and protecting the people" and "respecting talents" existed,and the basic function of "educating people" remained the same. Especially, the value orientation centered on "benevolent rule" and "moral conduct" and the aesthetic concept centered on "beauty of speech"remained influential throughout the period. The hymns in this period were manifested as the combinations of historicity and reality,and of socialization and politicization.
引文
① 本文所引《毛诗正义》《周礼注疏》《春秋左传正义》《论语注疏》文,俱见中华书局2009年影印清嘉庆二十至二十一年(1815-1816)江西南昌府学刊刻阮校十三经注疏本,不再逐一标注。
② 关于春秋时期“四阶段”说,详见邵炳军:《春秋文学系年辑证·绪论》,北京:高等教育出版社,2013年,第9～11页。
③ 参见石东:《〈诗经〉美政诗初探》,怀化:《怀化师专学报》,2000年第1期,第55～57页;韩高年、边思羽:《〈诗经〉中所见的政治观念——以〈诗经〉政治美刺诗、战争诗、宴饮诗为考察中心》,长沙:《湖南师范大学社会科学学报》,2013年第2期,第111～118页;孙晨:《浅析〈毛诗序〉中的“美刺”》,太原:《名作欣赏》,2015年第8期,第77～78页;徐鼎鼎:《〈毛诗序〉美刺说探微》,保定:《河北师范大学学报》,2016年第1期,第62～71页。
④ 本文所涉诗篇之作者、诗旨及创作年代,详见邵炳军:《春秋文学系年辑证》,北京:高等教育出版社,2013年;邵炳军:《德音斋文集·诗经卷》,上海:上海大学出版社,2017年。
⑤ 本文列举史实,除特别标注者外,皆出自《春秋》《左传》《国语》《论语》《礼记》《韩非子》《孔子家语》《史记》《列女传》《吴越春秋》,不再逐一标注出处。
⑥[晋]孔晁注、黄怀信、张懋镕、田旭东集注、黄怀信修订:《逸周书汇校集注》(修订本),上海:上海古籍出版社,2007年,第1026页。
⑦[汉]赵晔撰、周春生辑校汇考:《吴越春秋辑校汇考》,上海:上海古籍出版社,1997年,第171页。
② 关于春秋时期“四阶段”说,详见邵炳军:《春秋文学系年辑证·绪论》,北京:高等教育出版社,2013年,第9～11页。
③ 参见石东:《〈诗经〉美政诗初探》,怀化:《怀化师专学报》,2000年第1期,第55～57页;韩高年、边思羽:《〈诗经〉中所见的政治观念——以〈诗经〉政治美刺诗、战争诗、宴饮诗为考察中心》,长沙:《湖南师范大学社会科学学报》,2013年第2期,第111～118页;孙晨:《浅析〈毛诗序〉中的“美刺”》,太原:《名作欣赏》,2015年第8期,第77～78页;徐鼎鼎:《〈毛诗序〉美刺说探微》,保定:《河北师范大学学报》,2016年第1期,第62～71页。
④ 本文所涉诗篇之作者、诗旨及创作年代,详见邵炳军:《春秋文学系年辑证》,北京:高等教育出版社,2013年;邵炳军:《德音斋文集·诗经卷》,上海:上海大学出版社,2017年。
⑤ 本文列举史实,除特别标注者外,皆出自《春秋》《左传》《国语》《论语》《礼记》《韩非子》《孔子家语》《史记》《列女传》《吴越春秋》,不再逐一标注出处。
⑥[晋]孔晁注、黄怀信、张懋镕、田旭东集注、黄怀信修订:《逸周书汇校集注》(修订本),上海:上海古籍出版社,2007年,第1026页。
⑦[汉]赵晔撰、周春生辑校汇考:《吴越春秋辑校汇考》,上海:上海古籍出版社,1997年,第171页。
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