According to legend, nine songs are heavenly music. What Zhao Jianzi heard when he ascended to heaven in his dream was "Nine Songs and Ten Thousand Dances", that is, "Nine Songs" and Shao Dance accompanied with "Nine Songs". ("Li Sao" "Playing nine songs and dancing". ) "Nine Songs" was stolen from the world by Xia Houqi, and a joyous feast caused the chaos of the five sons and finally made the Xia people perish. The historical background of this myth is probably as follows. Shaowu dance in Nine Songs is the joy of Xia people, and it may only be used when offering sacrifices to God in the suburbs. Qi once played this music to enjoy God, that is, the enjoyment of Juntai. Just like the music of primitive society, the content of this music and dance is quite obscene. Because in primitive life, religion and sex are quite inseparable, so although obscene, you might as well enjoy the joy of God. Perhaps it was during the big banquet in the suburbs that Kai and Taikang's father and son clashed over having two daughters (the "mother of five sons"). The situation expanded to a certain extent, and Taikang led his younger brothers to create a rebellion. As a result, the enemy, Yi Yi, took advantage of it and put out the summer. (There is another textual research on this matter. ) to enjoy the gods is to treat the guests. Legend has it that the invitation to treat guests turned into the invitation to be invited, so there is a story of inviting guests to heaven. This is probably because of the word "guest" in the so-called "opening up the sky" (Tian Wen "opening up the guest merchants" means opening up the sky, and the Wild West Classic "opening up three places in the sky", which is the same as the guest. ) There are two meanings of "treat" and "visit", and the result is caused. Since entertaining guests has become a guest, enjoying the joy of the sky has become a joy in the sky, and playing music and enjoying guests has become a guest stealing joy. This is probably the only point of the legend's confusion. The rest of the story says that Qi died because of Nine Songs, but it is quite true. We put forward these points in particular to point out the oldest function of Nine Songs and its obscene content, because it is quite helpful for the following explanation of Nine Songs of Chu.
two classic nine songs
Zuo Zhuan is divided into nine songs and eight styles, seven tones, six rhythms and five tones (twenty years and twenty-five years of Zhao). It seems that nine songs are not specific to a certain song, but a standard genre of songs. The song is divided into nine points, the wind of Judah is divided into eight points, and the sound is divided into seven points ... These are all standard units, with more than one and less than one. The possible units of a song are words, sentences and chapters. There are two types of characters. (a) each sentence of nine words, this method is too long, ancient and modern are rare. (2) Nine words in each chapter is actually equal to three sentences in each chapter and three words in each sentence. This sentence is too short. None of the above seems possible. If we take chapters as the unit, there are nine chapters in each chapter, which are rare even in the Book of Songs. It seems that early poetry can't develop to such a long length, so it is impossible. We think that the earliest song, if it is based on nine units, must be a sentence-that is, three chapters, three sentences, and nine sentences in the whole article. Not only is this space moderate, but it is most likely, and in terms of the meaning of the word "song", "nine songs" must also be nine sentences per song. The original sound of "song" should be the same as that of today's language "ah", and its meaning was originally just a long "ah" in each sentence or at the end of a sentence when singing. (Later generations of songs often imitate its sound with words such as Xi or Yi, Wei, I and Hu. Therefore, Yao Dian says "songs are always spoken" and Yue Ji says "songs are always spoken, and long words are also spoken". However, "nine songs" means nine "ah" Nine songs are nine "ah", and "ah" must be in the sentence or at the end of the sentence, so nine songs must be nine sentences. The word "Xi" is used in the three sentences of "Song of the Wind", and it is called "the chapter of three Hou" in Historical Records Le Shu, which means that the sound of Xi Hou is close, and the three Hou still say three Xi. There are five sentences in "Five Poems", and each sentence ends with "Xi", and the whole poem * * * uses the word "five", so it is called "five". Nine songs are nine sentences, three of them are three, and five are five, all of which can be derived from their titles.
Nine sentences in a whole article equals three chapters and three sentences in a chapter. Hao Tao Hume contains such a song. (hereinafter referred to as the Fuehrer's Song)
Fuehrer, get up! What a joy! What a joy!
Fuehrer Ming zai! Good muscles and arms! Ordinary things are healthy!
Fuehrer! Femoral arm is lazy! What a pity!
Mr. Tang Li 'an said that it was the Nine Songs according to the above two sentences: "9% of Xiao Shao" and "Emperor used it as a song". This is a very important discovery. However, he also said that in the seventh year of Zuo Zhuan's writing, there was a lack of nine songs in Xia Shu, that is, "stop using it, use it with power, persuade it to use nine songs, and don't be bad", but that is not the case. Because it has been proved above that the so-called nine songs in the book biography do not refer to a certain song, so "persuading it to use nine songs" in Xia Shu is only equivalent to saying "persuading it to use songs". Moreover, the three sentences in Xia Shu refer to ceremony, punishment and joy, and the word "zhi" actually refers to the subjects below, while the Song of the Fuehrer is clearly for the monarch and Zaifu above. In fact, it doesn't matter whether the Fuehrer Song is the so-called Nine Songs in Xia Shu. Anyway, it is a typical song in the style of Nine Songs (because it is nine sentences), so it can be called Nine Songs.
The format of Song of the Fuehrer is the same as that of Song of the Fuehrer. In Guofeng, there are five articles such as Lin Zhi, Gan Tang, Cai Ge, Zhu and Su Guan. These songs and any songs of the same format in ancient and modern times can actually be called "Nine Songs". (In this sense, Jiuge is equivalent to the five laws and seven unique nouns of later generations. ) Since Jiuge is a common name indicating a standard genre, it is natural that Jiuge with obscene enlightenment in myth, Fuehrer's Song taught in classics, and Jiuge which is called "Jiude Song" in Xia Shu are all Jiuge.
On the one hand, the nine mythical songs adhere to the rigid classical format in appearance, but their contents have developed in a reactionary direction, and on the other hand, the appearance has almost completely abandoned the old pattern, while the content is still refined into a poem that is on cloud nine in the Songs of the South.
Why are the three "East Emperor Taiyi" and "Ritual Soul" welcoming the Divine Comedy
Some predecessors suspected that "Ritual Soul" was a gift to the Divine Comedy, and Zheng Zhenduo, Sun Zuoyun and Ding Shan all claimed that "East Emperor Taiyi" was a welcome to the Divine Comedy. They are all right, because the second chapter is really a welcoming tone. In addition to this internal reason, we can now cite the evolution of the general form of sacrificial songs as circumstantial evidence.
It is a traditional form of offering sacrifices to God, which has been described in detail in Song Shu Le Zhi. Looking at the movements of most ancestral temples in the Tang Dynasty, and some works by literati, such as Wang Wei's "Song of the Goddess of the Temple of Fish Mountain", we can see that the sacrificial songs must not only have the Divine Comedy, but sometimes only the Divine Comedy. The importance of the welcoming ceremony in the sacrificial ceremony can be seen here. Since this article is a kind of sacrifice song, it must include the song of welcoming God, including the Divine Comedy, and of course the first and second chapters. This is a common sense judgment, but there is no shortage of historical evidence. In terms of content, the first and second chapters of the Song of Sacrifice to the Suburb in Han Dynasty-Lian Tian and Chi Jiao are equivalent to the Eastern Emperor Taiyi and Ritual Soul in Jiuge (see the original song). ) Xie Zhuang also imitated Lian Tian and Chi Jiao as the first and second chapters of the Song Dynasty's Mingtang Song (Song Shu Le Zhi: "Welcome to the sacred song, according to the rhyme of three words and four sentences in the Han Dynasty's Jiaosi." ) and the title is "Welcome to the Divine Song" and "Send the Divine Song". It is not a problem that Nine Songs are promoted from Mingtang Song, Eastern Emperor Taiyi and Ritual Soul are welcoming divine comedy.
Or it is suspected that the nine chapters in the middle of Nine Songs also have the meaning of welcoming, and even the words of welcoming are clearly stated (Mrs. Xiang, "Welcome with nine flowers", and Hebo, "Send a beautiful woman to Nanpu". ) How do you see that Chapter Nine doesn't also have a welcoming effect? A: In Chapter Nine, the characters in the song greet each other, or greet imaginary objects, which is totally different from Chapter Two, that is, the story of BLACKPINK's debut performance welcoming, and the latter is a substantial welcoming ceremony. The predecessors were confused, so they were entangled.
Except for the first and second chapters to welcome the Divine Comedy, the remaining nine chapters in the middle are probably the so-called Nine Songs in Chu Ci. "Nine Songs" is not named after the number of chapters, which has been detailed above. However, due to the evolution of culture, the length of style cannot be expanded. It is an inevitable trend that the nine-sentence "Nine Songs" in ancient times has grown to nine chapters in the Warring States Period.
Four gods were greeted. Only Emperor Taiyi
"Emperor Taiyi" is a sacred song, and the song only says "Mu will be happy to go to the emperor" (Emperor Taiyi is the emperor), so it seems that there can be no other gods besides Emperor Taiyi. The Soul of Rite is a divine song as the spouse of The East Emperor Taiyi, and the theory sent here should not exceed what was welcomed before. In fact, the East Emperor Taiyi is God, and sacrificing the East Emperor Taiyi means worshipping God in the suburbs. Only God is worthy of the sincere welcome of the priest, the King of Chu. The status of other nine gods is under the king, so Quli is only for them, and there is no welcoming ceremony. In this way, in theory and principle, it is not only limited to the East Emperor Taiyi. As for the Nine Gods, there is no welcoming ceremony, so it is no wonder that the Nine Gods are never mentioned in the songs used to convey the ceremony.
But please note: We only talk about the welcoming songs and the welcoming ceremonies, not including the Nine Gods other than the East Emperor Taiyi. In fact, the Nine Gods might as well go out with the East Emperor Taiyi, and participate in the experience of being greeted. It can even be said that they are "spared" to give a little such glory. In other words, it is not true that we say that the Nine Gods were not greeted, which is due to their birthright. When it comes to etiquette, of course, nothing is more important than the concept of birthright. In the spirit of etiquette, facts beyond birthright can be regarded as nonexistent. Therefore, we still think that we were not greeted, and the ceremony was specially designed for the East Emperor Taiyi.
The mission and position of the Five Nine Gods
Since the ceremony is not for the Nine Gods, what are people doing there? The answer in the Song of Sacrifice to the Suburb in the Han Dynasty is: "It's too good to be happy, and ..." Nine Songs "is brilliant." The so-called "Nine Songs" in the Song of Sacrifice to the Suburb may be the song of nine of the eleven chapters in the Songs of the South (detailed below), and the Nine Gods are the protagonists in the nine-chapter song. It turns out that they are present for the sake of "pleasure" and "fear for the supreme being". These Shintoists-actually witches who are "trusted" by God-perform sad or tragic stories in different degrees in different classes according to their respective identities, which is similar to acting in modern temples. The only difference is that at that time, the play was made by the little gods for the great gods to see, while the people attending the ceremony were exposed to the light of the great gods and got the opportunity to watch the fun; Now, the sorcerer who specializes in acting as an agent for the little gods has become a professional theatrical troupe. However, due to the abandonment of the corpse sacrifice system, the great god is just a "civil figure" idol and can't understand the drama, so the masses put him aside and occupied the theater themselves and became a formal audience.
The appearance of the Nine Gods on the altar is a "little pleasure" to the East Emperor Taiyi. On the one hand, it is also enjoyed as a subordinate qualification of the East Emperor Taiyi. When you are happy, you stand in the position of the host to help the host, and when you enjoy it, you stand in the position of the guest as a guest. Accompanied by identity (second-and third-class gods), help to rely on the skills of ci-poetry (singing and expression). The status of the Nine Gods is not equal, and the ability of the geisha is also poor, so some of their status means more than helping, and some help means more than helping. However, companionship is also a kind of help, and help also has food and drink (enjoyment), so the two seem inseparable.
Chapter 62 and Chapter 9
Because of the different positions of Emperor Taiyi and Nine Gods in the sacrificial ceremony, Chapter 2 and Chapter 9 have different positions in Chapter 11. When explaining the different status of these two sets of lyrics, there can be two opposite views of religion and art. From the religious point of view, the second chapter is the farewell divine comedy as the main body of the sacrifice song, and the ninth chapter is the real Nine Songs, which is just an episode in the sacrifice song. The role of the episode is to join in the fun and embellish the scene, so it can be more or less, or even dispensable. On the other hand, from the artistic point of view, the nine chapters are the real essence of the eleven chapters, while the second chapter is a traditional one-to-one essay. The editors of Songs of the South collectively refer to eleven chapters as "Nine Songs", which is based on the artistic point of view and based on the middle nine chapters. "Songs of the South" is an album of literary and artistic works. Of course, the editor has to take this view. If he is the author of Sacrifice to the Suburbs, he still adopts such a title, which is a serious mistake of opposing the customer and giving up others, because according to the standpoint of pure religion, the eleventh chapter should be renamed as "Song of Sacrifice to the Suburbs of Chu", or more clearly, "Song of Music for Sacrificing the Emperor Taiyi in the Suburbs of Chu", while the title of "Nine Songs" should be limited to the middle. Perhaps some people will say that the music of the gods is called "Nine Songs", and "Songs of the South" generally refers to the whole movement of worshipping the Emperor Taiyi of the East as "Nine Songs", which only uses the old name of history, and there is no position that attaches importance to the artistry of "Nine Songs". However, he forgot that all the books talked about playing the Nine Songs to enjoy the gods, which was to scold him for fooling around. He should not use the means of offering sacrifices to heaven to achieve his goal of "entertaining himself" ("Li Sao"), so he added that "the chapter is heard in the sky, and the sky uses the style of Buddha." ("Mo Zi Fei Le Pian" quotes "Wu Guan") Their implication is that there is proper music to worship the heavens, and the "Nine Songs" which is too entertaining is not allowed to be mixed into the ceremony to blaspheme the gods. Their opposition to Kai is actually against Nine Songs and its entertainment, which is actually an admission of its artistry. In understanding the artistry of Jiuge, they are no different from the editors of Songs of the South, but in the practice of using this knowledge, they attack Qi on that point, and the editors of Songs of the South appreciate literature and art on that point.
Re-classification of Chapter 79
Not only are the eleven chapters, but the second chapter and the ninth chapter are the same topic. If we subdivide them, the first eight chapters and the last chapter (Mourning for the Nation) among the nine chapters will be classified into one category. The natural gods such as the sun, clouds, stars (referring to the command of the company, detailed later), mountains and Sichuan ("Historical Records, Leaving the Hou Family"), "scholars talk about ghosts and gods, but they talk about things", and things are natural gods. According to the traditional view, it seems that it should be the closest group of attendants of the gods. This is entirely the idea of modern people. In the history of religion, the worship of natural gods happened the earliest because of the barbarians' ignorance and fear of natural phenomena. The second is the worship of people and ghosts, which is a religious behavior with the emergence of heroes under the feudal state system. Finally, due to the gradual annexation of feudal lords, a monotheistic god like Emperor Taiyi came into being until a unified imperial government was about to appear. The indecency of the eight chapters, especially the chapters of Xiang Jun and Mrs Xiang (which is called obscenity), has fully exposed the primitiveness and naivety of these shinto. (The question of love between man and god raised by Ms. Su Xuelin just illustrates the historical background of the eight chapters on religion, which is detailed later. On the contrary, Mourning for the Nation represents a further social form, which is close to the era of Emperor Taiyi. In other words, Ba Shen below Dongjun represents the original belief of witchcraft, while "National Mourning" and Donghuangtaiyi are the gods of advanced formal religion. We find that the national mourning is similar to the East Emperor Taiyi in nature, for example, the national mourning is a reward, the sacrifice to the East Emperor Taiyi is a reward for virtue, the national mourning is listed as a small sacrifice in the family worship system, and the East Emperor Taiyi is a gift, etc. These signs are that the national mourning is too close to the Eastern Emperor, and at the same time, it alienates him from going to Ba Shen. This is the most eloquent reason why we divide the nine chapters into two categories: Ba Shen and National Mourning. Even if we are willing to go to extremes, it seems impossible to divide all eleven chapters into two chapters (Emperor Taiyi and Ritual Soul), one chapter (National Mourning), and eight chapters and three parallel categories. We don't do that because it is too original. Historically, Emperor Taiyi, National Mourning and Ba Shen occurred in three different cultural stages, each with its own special attributes, but that is history. In the era of "Nine Songs", I am afraid that the national mourning has been relegated to the same column as Ba Shen. At least Chu has a division to make music, in order to make up the number of songs in nine chapters.