《诗经》宴饮诗与周代礼乐文化的变迁
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摘要
《诗经》是我国第一部诗歌总集，它的内容丰富，题材多样。宴饮诗是《诗经》中的重要内容之一。宴饮诗是描写君臣上下、同宗近族、亲朋好友之间觥酬交错、宴饮欢聚的诗歌，表现了贵族的威仪礼节，体现了宗族的和睦合好，展现了周代礼乐文化的发展与变迁。
周代初期，周公制礼作乐，奠定了周代礼乐文化的大体规模。西周中期礼乐文化彬彬盛矣，许多典礼仪式的诗歌反映了此时的礼乐文化发展的盛况。宴饮活动进入了诗歌创作，但初创的宴饮诗数量很少，具有非独立性，宴饮与射礼、祭礼等礼仪融为一体。
根据内容西周中期与祭祀有关的宴饮可以分为两类：飨尸宴和族内宴，都有宗教色彩，带着对神灵的崇拜和敬仰。反映飨尸宴的诗歌有《周颂·丝衣》、《大雅·既醉》、《大雅·凫鹫》等。它们都是祭祀时宴尸的诗歌，祭祀时宴饮、尊崇“象神”的“尸”意味着对神灵的尊崇与信仰，人敬神飨神的同时，还要求神的赐施与回报。对宴饮活动的重视，对君子威仪德仪的注重反映了祭祀这样的宗教活动中人的活动开始受到关注。《小雅·楚茨》描写了祭祀的过程，完备而周详，热闹又有序，其中最动人的是宗族合宴的景象，再现了宗族和睦的图景。此外《大雅·行苇》的宴饮与射礼密切相关。
西周后期礼乐文化不断发展，礼乐繁盛，制度完备，产生了许多礼仪性质的诗歌。很多的宴饮诗具有礼仪的性质。宴饮诗有很大发展，产生了纯粹而独立的宴饮诗，而且宴饮诗数量很多，内容丰富，同时宴饮诗中融入了浓郁深厚的感情。大量的宴饮诗反映了周代礼乐文化的繁盛，我们可以借以窥见“郁郁乎文”的周代礼乐文化。如《小雅·彤弓》是燕飨有功诸侯的诗歌，气势恢弘，大气磅礴。而《小雅·湛露》写宴饮宗族通宵达旦，极近款诚。此时的宴饮诗从宗教中解放出来，反映的是现实社会中的礼制与人情，带有政治色彩和伦理观念。
与此同时，还有部分宴饮诗歌产生了变异，反映了周代礼乐文化的衰微。《小雅·伐木》、《小雅·常棣》等诗歌呼唤亲情友谊，向往宗族和睦，侧面反射出周代社会伦理关系走向崩溃，人心开始动摇的现实状况。诗歌作者深
深忧虑着礼乐文化将坠的社会情况，企图通过宴饮聚合的方式来团结宗族，
稳定社会。
西周末期礼乐完全崩溃，贵族湛乐饮酒，乱德失礼，人们陶醉于美酒的
麻醉中，尽情享乐。宴饮不再是合好友睦、用观威仪的方式，而是满足感官
享受、纵情逸乐的方式。《小雅·宾之初筵》典型地反映了贵族醉酒后乱舞
狂欢、失礼乱德的状况。此时礼仪道德己经无法起到维系人心、约束人群、
团结社会的作用，周代的礼乐文化丧失殆尽。
通过宴饮诗歌的变化发展可以清楚得看到周代礼乐文化变迁的过程，同
时反映出宴饮诗创作思想的变迁。
The Book of Songs is the first ancient poem collection in our country, which is rich in terms of contents and colorful in terms of themes. Poems of wining and dining are one of the important parts in The Book of Songs. Poems of wining and dining are the ones to describe the happy occasions of drinking and dining among the monarch and the ministers, among the relatives, and among the close friends, which shows the solemn courtesy, the harmony of the patriarchal clan, and reveals the development and changes in terms of the cultures of courtesy and music in Zhou Dysnasty.
At the beginning of Zhou Dynasty, Duke of Zhou prescribed the courtesy and music which laid the foundation for the size of the cultures of courtesy and music in Zhou Dynasty. In the middle of Western Zhou Dynasty, the cultures of courtesy and music flourished, which was reflected by the poems of describing the ceremonies. The activities of wining and dining became the themes of poems writing, but the primarily written poems were nonindependent in which the activities of wining and dining were integrated with hunting ceremonies and memorial ceremonies. At that time the number of the poems of wining and dining was small. According to the content, the wining and dining can be divided into two types: banquet of entertaining the dead bodies on funerals and banquet in the patriarchal clan. Banquet of entertaining the dead bodies on funerals is colored by religion with the respect and worship for the Gods and spirits. The poems reflecting banquet of entertaining the dead bodies on funerals are Zhou Song Si Yi ,Da Y
a Ji Zui, Da ya Fu Yi and so on. They are all the poems describing banquets on the funerals when offering sacrifices to gods or ancestors. Wining and dining and respecting the dead bodies which are related to the gods means the worship to the gods and belief in the gods, but the emphasis on the activities of wining and dining reflects the fact that the activities of human being begin to be concerned, which indicates that when people respect the gods and entertain the
gods, they also demand the bestowal and reward from the gods. Xiao Ya Chu Ci describes the process of offering sacrifices for gods or ancestors, which is complete and detailed, bustling and order, in which the scene of dining together in the patriarchal clan is most exciting and the scene of harmony of the patriarchal clan is reproduced.
At the end of Western Zhou Dynasty, the culture of courtesy and music continued to develop, the courtesy and music flourishing, the regulations complete, and many poems with the characters of courtesy and ceremony coming into being. Many poems had the characters of courtesy and ceremony. The poems of wining and dining had developed greatly, and appeared the pure and independent poems of wining and dining which was large in the number and rich in terms of contents, and at the same time the deep emotion merged into them. A large number of poems of wining and dining reflect the flourishing of the culture of courtesy and music in Zhou Dynasty, and we can see the "letter flourishing" of the cultures of courtesy and music in Zhou Dynasty with the help of these poems. For example, Xiao Ya Tong Gong, which is marvelous and spectacular, is the poem entertaining the meritorious dukes. While Xiao Ya Zhan Lu describes the entertaining, extremely generous, of the patriarchal clan from day to night. The poems of wining and dining at that time was released from the religion, reflecting the system of courtesy and the human feelings in the real society, with political and ethical conception attached to it.
At the same time, there are other poems of wining and dining changing, reflecting the faintness of the culture of courtesy and music in Zhou Dynasty. Xiao Ya Fa Mu, Xiao Ya Chang Di and other poems call for the emotional attachment among family members and friendship, and long for the harmony of patriarchal clan, reflecting from one side the collapse of the ethical relationship in Zhou Dynasty and reality of popular anxiety. The authors of the poems were
周代初期，周公制礼作乐，奠定了周代礼乐文化的大体规模。西周中期礼乐文化彬彬盛矣，许多典礼仪式的诗歌反映了此时的礼乐文化发展的盛况。宴饮活动进入了诗歌创作，但初创的宴饮诗数量很少，具有非独立性，宴饮与射礼、祭礼等礼仪融为一体。
根据内容西周中期与祭祀有关的宴饮可以分为两类：飨尸宴和族内宴，都有宗教色彩，带着对神灵的崇拜和敬仰。反映飨尸宴的诗歌有《周颂·丝衣》、《大雅·既醉》、《大雅·凫鹫》等。它们都是祭祀时宴尸的诗歌，祭祀时宴饮、尊崇“象神”的“尸”意味着对神灵的尊崇与信仰，人敬神飨神的同时，还要求神的赐施与回报。对宴饮活动的重视，对君子威仪德仪的注重反映了祭祀这样的宗教活动中人的活动开始受到关注。《小雅·楚茨》描写了祭祀的过程，完备而周详，热闹又有序，其中最动人的是宗族合宴的景象，再现了宗族和睦的图景。此外《大雅·行苇》的宴饮与射礼密切相关。
西周后期礼乐文化不断发展，礼乐繁盛，制度完备，产生了许多礼仪性质的诗歌。很多的宴饮诗具有礼仪的性质。宴饮诗有很大发展，产生了纯粹而独立的宴饮诗，而且宴饮诗数量很多，内容丰富，同时宴饮诗中融入了浓郁深厚的感情。大量的宴饮诗反映了周代礼乐文化的繁盛，我们可以借以窥见“郁郁乎文”的周代礼乐文化。如《小雅·彤弓》是燕飨有功诸侯的诗歌，气势恢弘，大气磅礴。而《小雅·湛露》写宴饮宗族通宵达旦，极近款诚。此时的宴饮诗从宗教中解放出来，反映的是现实社会中的礼制与人情，带有政治色彩和伦理观念。
与此同时，还有部分宴饮诗歌产生了变异，反映了周代礼乐文化的衰微。《小雅·伐木》、《小雅·常棣》等诗歌呼唤亲情友谊，向往宗族和睦，侧面反射出周代社会伦理关系走向崩溃，人心开始动摇的现实状况。诗歌作者深
深忧虑着礼乐文化将坠的社会情况，企图通过宴饮聚合的方式来团结宗族，
稳定社会。
西周末期礼乐完全崩溃，贵族湛乐饮酒，乱德失礼，人们陶醉于美酒的
麻醉中，尽情享乐。宴饮不再是合好友睦、用观威仪的方式，而是满足感官
享受、纵情逸乐的方式。《小雅·宾之初筵》典型地反映了贵族醉酒后乱舞
狂欢、失礼乱德的状况。此时礼仪道德己经无法起到维系人心、约束人群、
团结社会的作用，周代的礼乐文化丧失殆尽。
通过宴饮诗歌的变化发展可以清楚得看到周代礼乐文化变迁的过程，同
时反映出宴饮诗创作思想的变迁。
The Book of Songs is the first ancient poem collection in our country, which is rich in terms of contents and colorful in terms of themes. Poems of wining and dining are one of the important parts in The Book of Songs. Poems of wining and dining are the ones to describe the happy occasions of drinking and dining among the monarch and the ministers, among the relatives, and among the close friends, which shows the solemn courtesy, the harmony of the patriarchal clan, and reveals the development and changes in terms of the cultures of courtesy and music in Zhou Dysnasty.
At the beginning of Zhou Dynasty, Duke of Zhou prescribed the courtesy and music which laid the foundation for the size of the cultures of courtesy and music in Zhou Dynasty. In the middle of Western Zhou Dynasty, the cultures of courtesy and music flourished, which was reflected by the poems of describing the ceremonies. The activities of wining and dining became the themes of poems writing, but the primarily written poems were nonindependent in which the activities of wining and dining were integrated with hunting ceremonies and memorial ceremonies. At that time the number of the poems of wining and dining was small. According to the content, the wining and dining can be divided into two types: banquet of entertaining the dead bodies on funerals and banquet in the patriarchal clan. Banquet of entertaining the dead bodies on funerals is colored by religion with the respect and worship for the Gods and spirits. The poems reflecting banquet of entertaining the dead bodies on funerals are Zhou Song Si Yi ,Da Y
a Ji Zui, Da ya Fu Yi and so on. They are all the poems describing banquets on the funerals when offering sacrifices to gods or ancestors. Wining and dining and respecting the dead bodies which are related to the gods means the worship to the gods and belief in the gods, but the emphasis on the activities of wining and dining reflects the fact that the activities of human being begin to be concerned, which indicates that when people respect the gods and entertain the
gods, they also demand the bestowal and reward from the gods. Xiao Ya Chu Ci describes the process of offering sacrifices for gods or ancestors, which is complete and detailed, bustling and order, in which the scene of dining together in the patriarchal clan is most exciting and the scene of harmony of the patriarchal clan is reproduced.
At the end of Western Zhou Dynasty, the culture of courtesy and music continued to develop, the courtesy and music flourishing, the regulations complete, and many poems with the characters of courtesy and ceremony coming into being. Many poems had the characters of courtesy and ceremony. The poems of wining and dining had developed greatly, and appeared the pure and independent poems of wining and dining which was large in the number and rich in terms of contents, and at the same time the deep emotion merged into them. A large number of poems of wining and dining reflect the flourishing of the culture of courtesy and music in Zhou Dynasty, and we can see the "letter flourishing" of the cultures of courtesy and music in Zhou Dynasty with the help of these poems. For example, Xiao Ya Tong Gong, which is marvelous and spectacular, is the poem entertaining the meritorious dukes. While Xiao Ya Zhan Lu describes the entertaining, extremely generous, of the patriarchal clan from day to night. The poems of wining and dining at that time was released from the religion, reflecting the system of courtesy and the human feelings in the real society, with political and ethical conception attached to it.
At the same time, there are other poems of wining and dining changing, reflecting the faintness of the culture of courtesy and music in Zhou Dynasty. Xiao Ya Fa Mu, Xiao Ya Chang Di and other poems call for the emotional attachment among family members and friendship, and long for the harmony of patriarchal clan, reflecting from one side the collapse of the ethical relationship in Zhou Dynasty and reality of popular anxiety. The authors of the poems were
引文
1 阮元．十三经注疏．北京．中华书局影印本．1979．410
2 阮元．十三经注疏．北京．中华书局影印本．1979．544
以下所引均出自《十三经注疏》，不再著明出处
3 欧阳修．诗本义．上海．上海古籍出版社．四库全书．1987．218
4 朱熹．诗序辨说．上海．上海古籍出版社．四库全书．1987．32
5 王夫之．诗广传．北京．中华书局出版社．1981．71
6 王夫之．诗广传．北京．中华书局出版社．1981．103
7 王夫之．诗广传．北京．中华书局出版社．1981．103
8 刘大杰．中国文学发展史．上海．上海人民出版社．1973．40
9 赵沛霖．诗经研究反思．天津．天津教育出版社．1989．49
10 国语·周语．上海．上海古籍出版社．1996．52
11 惠周惕．诗说．上海．上海古籍出版社．四库全书．1987．4
12 赵沛霖．诗经研究反思．天津．天津教育出版社．1989．52
13 范家相．诗渖．上海．上海古籍出版社．四库全书．1987．673
14 朱熹．诗集传．上海．上海古籍出版社．1980．99
15 朱熹．诗集传．上海．上海古籍出版社．1980．160．111．161．162．165．173
16 方玉润．诗经原始．北京．中华书局．1986．360
17 李泽厚．中国古代思想史论．北京．人民出版社．1986．8
18 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33
19 同上
20 同上
21 西周史略．金文通释．第四十七辑．100～109
22 马银琴．西周穆王时代的仪式乐歌．北京．中国诗歌研究．第一辑．3～28
23 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000．628
24 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33
25 裘锡圭．史墙盘铭解释．西周微氏家族青铜器群研究．文物出版社．1992．274
26 王国维．殷周制度论．王国维遗书．上海．上海古籍书店印行．1983．9
27 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．338
28 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33(注：间引)
29 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．190
30 陈汉平．西周册命制度研究．学林出版社．1986．313
31 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．
32 王国维．殷周制度论．王国维遗书．上海．上海古籍书店印行．1983．14
33 扬之水．诗经名物新证．北京．北京古籍出版社．2000．217
34 李山．诗经的文化精神．北京．东方出版社．1997．195
35 何楷．诗世本古义．上海．上海古籍出版社．四库全书．1987．22
36 孙作云．诗经与周代社会研究．北京．中华书局．1979．374
37 朱熹．诗集传．上海．上海古籍出版社．1980．111
38 金启华．诗经全译．江苏．江苏古籍出版社．1990．389
39 曾勤良．左传引诗赋诗之诗教研究．文津出版社．1993．200
40 杨宽．西周史．上海．上海人民出版社．1999．549～576
41 于省吾．泽螺居诗经新证．北京．中华书局．2003．79
42 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000．302
43 国语·周语．上海．上海古籍出版社．1996．52
44 朱东润．诗三百篇探故·诗大小雅说臆．上海．上海古籍出版社．1981．59
45 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．335
46 何幼琦．西周四史佚史初探．江汉考古．1983
47 黄中亚．三代纪事本末．辽宁．辽宁人民出版社．1999．287～288
48 唐兰．略论西周微史家族窖藏铜器群的重要意义—陕西扶风新出墙盘铭文解释．西周微氏家族青铜器群研究．文物出版社．114～115
49 张荫麟．中国史纲．北京．商务印书馆．2003．66
50 扬之水．诗经名物新证．北京．北京古籍出版社．2000．216
51 张荫麟．中国史纲．北京．商务印书馆．2003．64～65
52 朱凤瀚．商周家族形态研究．279～243
53 何楷．诗世本古义．上海．上海古籍出版社．四库全书．1987．638
54 游国恩．中国文学史．北京．人民文学出版社．1979．31
55 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000．588
56 章培恒．骆玉明．中国文学史．上海．复旦大学出版社．1997．29
57 章培恒．骆玉明．中国文学史．上海．复旦大学出版社．1997．52
1 阮元．十三经注疏．北京．中华书局影印本．1979
2 欧阳修．诗本义．上海．上海古籍出版社．四库全书．1987
3 朱熹．诗序辨说．上海．上海古籍出版社．四库全书．1987
4 王夫之．诗广传．北京．中华书局出版社．1981
5 刘大杰．中国文学发展史．上海．上海人民出版社．1973
6 赵沛霖．诗经研究反思．天津．天津教育出版社．1989
7 国语·周语．上海．上海古籍出版社．1996
8 惠周惕．诗说．上海．上海古籍出版社．四库全书．1987
9 赵沛霖．诗经研究反思．天津．天津教育出版社．1989
10 范家相．诗渖．上海．上海古籍出版社．四库全书．1987
11 朱熹．诗集传．上海．上海古籍出版社．1980
12 方玉润．诗经原始．北京．中华书局．1986
13 李泽厚．中国古代思想史论．北京．人民出版社．1986
14 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33
15 西周史略．金文通释．第四十七辑
16 马银琴．西周穆王时代的仪式乐歌．北京．中国诗歌研究．第一辑．3～28
17 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000
18 裘锡圭．史墙盘铭解释．西周微氏家族青铜器群研究．文物出版社．1992
19 王国维．王国维遗书．上海．上海古籍书店印行．1983
20 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997
21 陈汉平．西周册命制度研究．学林出版社．1986
23 扬之水．诗经名物新证．北京．北京古籍出版社．2000
24 李山．诗经的文化精神．北京．东方出版社．1997
25 何楷．诗世本古义．上海．上海古籍出版社．四库全书．1987
26 孙作云．诗经与周代社会研究．北京．中华书局．1979
27 金启华．诗经全译．江苏．江苏古籍出版社．1990
28 曾勤良．左传引诗赋诗之诗教研究．文津出版社．1993
29 杨宽．西周史．上海．上海人民出版社．1999
30 于省吾．泽螺居诗经新证．北京．中华书局．2003
31 朱东润．诗三百篇探故·诗大小雅说臆．上海．上海古籍出版社．1981
32 何幼琦．西周四史佚史初探．江汉考古．1983
33 黄中亚．三代纪事本末．辽宁．辽宁人民出版社．1999
34 唐兰．略论西周微史家族窖藏铜器群的重要意义—陕西扶风新出墙盘铭文解释．西周微氏家族青铜器群研究．文物出版社
35 张荫麟．中国史纲．北京．商务印书馆．2003
36 朱凤瀚．商周家族形态研究
37 游国恩．中国文学史．北京．人民文学出版社．1979
38 章培恒．骆玉明．中国文学史．上海．复旦大学出版社．1997
39 诸子集成．北京．中华书局
40 陈奂．《诗毛氏传疏》
41 马瑞臣．《毛诗传笺通释》
2 阮元．十三经注疏．北京．中华书局影印本．1979．544
以下所引均出自《十三经注疏》，不再著明出处
3 欧阳修．诗本义．上海．上海古籍出版社．四库全书．1987．218
4 朱熹．诗序辨说．上海．上海古籍出版社．四库全书．1987．32
5 王夫之．诗广传．北京．中华书局出版社．1981．71
6 王夫之．诗广传．北京．中华书局出版社．1981．103
7 王夫之．诗广传．北京．中华书局出版社．1981．103
8 刘大杰．中国文学发展史．上海．上海人民出版社．1973．40
9 赵沛霖．诗经研究反思．天津．天津教育出版社．1989．49
10 国语·周语．上海．上海古籍出版社．1996．52
11 惠周惕．诗说．上海．上海古籍出版社．四库全书．1987．4
12 赵沛霖．诗经研究反思．天津．天津教育出版社．1989．52
13 范家相．诗渖．上海．上海古籍出版社．四库全书．1987．673
14 朱熹．诗集传．上海．上海古籍出版社．1980．99
15 朱熹．诗集传．上海．上海古籍出版社．1980．160．111．161．162．165．173
16 方玉润．诗经原始．北京．中华书局．1986．360
17 李泽厚．中国古代思想史论．北京．人民出版社．1986．8
18 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33
19 同上
20 同上
21 西周史略．金文通释．第四十七辑．100～109
22 马银琴．西周穆王时代的仪式乐歌．北京．中国诗歌研究．第一辑．3～28
23 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000．628
24 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33
25 裘锡圭．史墙盘铭解释．西周微氏家族青铜器群研究．文物出版社．1992．274
26 王国维．殷周制度论．王国维遗书．上海．上海古籍书店印行．1983．9
27 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．338
28 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33(注：间引)
29 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．190
30 陈汉平．西周册命制度研究．学林出版社．1986．313
31 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．
32 王国维．殷周制度论．王国维遗书．上海．上海古籍书店印行．1983．14
33 扬之水．诗经名物新证．北京．北京古籍出版社．2000．217
34 李山．诗经的文化精神．北京．东方出版社．1997．195
35 何楷．诗世本古义．上海．上海古籍出版社．四库全书．1987．22
36 孙作云．诗经与周代社会研究．北京．中华书局．1979．374
37 朱熹．诗集传．上海．上海古籍出版社．1980．111
38 金启华．诗经全译．江苏．江苏古籍出版社．1990．389
39 曾勤良．左传引诗赋诗之诗教研究．文津出版社．1993．200
40 杨宽．西周史．上海．上海人民出版社．1999．549～576
41 于省吾．泽螺居诗经新证．北京．中华书局．2003．79
42 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000．302
43 国语·周语．上海．上海古籍出版社．1996．52
44 朱东润．诗三百篇探故·诗大小雅说臆．上海．上海古籍出版社．1981．59
45 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997．335
46 何幼琦．西周四史佚史初探．江汉考古．1983
47 黄中亚．三代纪事本末．辽宁．辽宁人民出版社．1999．287～288
48 唐兰．略论西周微史家族窖藏铜器群的重要意义—陕西扶风新出墙盘铭文解释．西周微氏家族青铜器群研究．文物出版社．114～115
49 张荫麟．中国史纲．北京．商务印书馆．2003．66
50 扬之水．诗经名物新证．北京．北京古籍出版社．2000．216
51 张荫麟．中国史纲．北京．商务印书馆．2003．64～65
52 朱凤瀚．商周家族形态研究．279～243
53 何楷．诗世本古义．上海．上海古籍出版社．四库全书．1987．638
54 游国恩．中国文学史．北京．人民文学出版社．1979．31
55 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000．588
56 章培恒．骆玉明．中国文学史．上海．复旦大学出版社．1997．29
57 章培恒．骆玉明．中国文学史．上海．复旦大学出版社．1997．52
1 阮元．十三经注疏．北京．中华书局影印本．1979
2 欧阳修．诗本义．上海．上海古籍出版社．四库全书．1987
3 朱熹．诗序辨说．上海．上海古籍出版社．四库全书．1987
4 王夫之．诗广传．北京．中华书局出版社．1981
5 刘大杰．中国文学发展史．上海．上海人民出版社．1973
6 赵沛霖．诗经研究反思．天津．天津教育出版社．1989
7 国语·周语．上海．上海古籍出版社．1996
8 惠周惕．诗说．上海．上海古籍出版社．四库全书．1987
9 赵沛霖．诗经研究反思．天津．天津教育出版社．1989
10 范家相．诗渖．上海．上海古籍出版社．四库全书．1987
11 朱熹．诗集传．上海．上海古籍出版社．1980
12 方玉润．诗经原始．北京．中华书局．1986
13 李泽厚．中国古代思想史论．北京．人民出版社．1986
14 夏含夷．从西周礼制改革看《诗经·周颂》的演变．河北师院学报(社会科学版)．1996．3．26～33
15 西周史略．金文通释．第四十七辑
16 马银琴．西周穆王时代的仪式乐歌．北京．中国诗歌研究．第一辑．3～28
17 聂石樵．雒三桂．李山．诗经新注．济南．齐鲁书社．2000
18 裘锡圭．史墙盘铭解释．西周微氏家族青铜器群研究．文物出版社．1992
19 王国维．王国维遗书．上海．上海古籍书店印行．1983
20 杨向奎．宗周社会与礼乐文明．北京．人民出版社．1997
21 陈汉平．西周册命制度研究．学林出版社．1986
23 扬之水．诗经名物新证．北京．北京古籍出版社．2000
24 李山．诗经的文化精神．北京．东方出版社．1997
25 何楷．诗世本古义．上海．上海古籍出版社．四库全书．1987
26 孙作云．诗经与周代社会研究．北京．中华书局．1979
27 金启华．诗经全译．江苏．江苏古籍出版社．1990
28 曾勤良．左传引诗赋诗之诗教研究．文津出版社．1993
29 杨宽．西周史．上海．上海人民出版社．1999
30 于省吾．泽螺居诗经新证．北京．中华书局．2003
31 朱东润．诗三百篇探故·诗大小雅说臆．上海．上海古籍出版社．1981
32 何幼琦．西周四史佚史初探．江汉考古．1983
33 黄中亚．三代纪事本末．辽宁．辽宁人民出版社．1999
34 唐兰．略论西周微史家族窖藏铜器群的重要意义—陕西扶风新出墙盘铭文解释．西周微氏家族青铜器群研究．文物出版社
35 张荫麟．中国史纲．北京．商务印书馆．2003
36 朱凤瀚．商周家族形态研究
37 游国恩．中国文学史．北京．人民文学出版社．1979
38 章培恒．骆玉明．中国文学史．上海．复旦大学出版社．1997
39 诸子集成．北京．中华书局
40 陈奂．《诗毛氏传疏》
41 马瑞臣．《毛诗传笺通释》
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