1) Chu Song
楚歌
1.
When we find Xi (兮)in Chinese poem just as qu Yuan s works ,it doesn t mean the Chinese poem is Chu song , because this kind of Chinese poem prevailed everywhere in Chunqiu Zhanguo period .
楚歌不都是以“兮”字为标志的屈骚式作品 ,结构短小、体近屈骚的作品也不为楚国独有。
2) Chu Songs
楚歌
1.
The Witness of the Early Han Royal Conflicts:The Chu Songs of Liu Bang and His Heirs;
汉初宫廷斗争的见证:刘邦及其子孙的楚歌
2.
The decline of four-word-poems with the decline of single-sound words of the pre-Qin time was because the form restricted the power of expression,the Chu songs once popular in the beginning of the Han Dynasty followed the similar fate.
四言诗在先秦单音词时代结束后风光不再 ,是因为形式限制了表现力的发挥 ,汉初一度流行的楚歌在这一点上亦与其相似。
3) Chu style of poem
楚歌体
1.
The mirror is inscribed with a two- line inscription running to 16 characters,which comprises lines of a Chu style of poem and this sheds light on the origins of Chinese poetry with seven-character lines.
镜铭两句十六字,系楚歌体诗,有助于七言诗起源的研究。
4) song and diction in Chu Dynasty
楚声歌辞
5) Jingchu ballad
荆楚歌谣
1.
There are obvious regional culture characteristics in Jingchu ballad , its main characterization is the Witch Xi culture,it becomes heterochromatic color , " the Songs of the South nine song ", flow wind lingering musics and yet flexible character of feeling.
荆楚歌谣有其显明的地域文化特色,主要表现为:巫觋文化的变异色彩、《楚辞。
6) Chuci·Jiuge
《楚辞.九歌》
补充资料：楚歌
| 楚歌 中国古代楚地的土风歌谣。带有鲜明的楚文化色彩，秦末汉初最为盛行。形式上有别于《诗经》的四言体，而多在隔句末尾缀以“思”或“兮”字，很有规律，在形式上显示出一定特色。后为屈原所吸收，发展成为参差错落的骚体诗。先秦时期的楚歌，散见于《诗经》的“周南”、“召南”及部分古籍中。至秦汉时期，楚声短歌进入宫廷，登上庙堂，颇受封建帝王的喜爱。如项羽有《垓下歌》、汉高祖刘邦有《为戚夫人歌》、《大风歌》，汉武帝刘彻有《秋风辞》、《瓠子歌》等。其中以刘邦的《大风歌》最出名，文帝、景帝年代曾奉作宗庙颂歌。 |
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条