汉代越地楚歌诗及越文化的走向——以《吴越春秋》为中心

楚歌诗是汉代的主流艺术形式。《吴越春秋》中的楚歌诗并非先秦成诗,而是汉代越地文人赵晔的自创,或自出机杼,或改写史料,是汉代越地楚歌诗的代表。这些楚歌诗既继承了楚歌诗以＂悲＂为主的情感特征,同时也表现出越文化特色,在情感表达上更加强烈、复杂,篇幅增加,语言更为丰富细腻,有明显的文人案头创作痕迹。汉代越地楚歌诗的出现是在汉代大一统社会背景下楚文化风尚及地域文化转向的产物,它反映出越文化在汉代与主流文化逐渐趋同、融合的走向。

Evolution of the Yue Culture as Reflected in the Chu-style Ballads during Han Dynasty: A Review of Wu Yue Chun Qiu

The Chu-style ballad was the major form of poetry during the Han dynasty（206 B.C.-202） in China,but the ballads included in Wu Yue Chun Qiu（The Spring and Autumn of the Wu and Yue Kingdoms） had not been composed before the Qin dynasty（221 B.C.-206 B.C.）;instead,they were written by the author of the book Zhao Ye（c.33-？）,a Han-dynasty writer who lived in what had been the former Yue Kingdom（i.e.,Zhejiang province today）,based either on his collecting of folk songs or on his rewriting of historical data.These ballads,representing the local poetic style of the Yue region during the Han dynasty,incorporated the sentimental essence of the Chu-style verse and the Yue culture,and proved stronger and more complicated in emotion;longer in content and more exquisite in language,they showed strong features of works composed by professional poets.The rise of such ballads during the Han period was the result of the turn of the Chu culture and the Yue culture under the circumstance of the unprecedented union achieved by the government at that time;it reflected the fact that the regional Yue culture started to be incorporated and assimilated into the mainstream culture during the Han dynasty.