李賀의 ‘神絃’ 3首의 계승관계 - 南朝 「神絃歌」와 「九歌」를 중심으로 -

Abstract

「Shenxianqu」, 「Shenxian」 and 「Shenxianbiequ」 of Li He were to express civil ancestral rites which were realized around Chang’an from borrowing the form of 「Shenxiange」 as a song for memorial services for ancestors of the Southern Dynasties. It used techniques of seven characters to a line and change to a new rhyme. In the style, Li He’s unique grotesque and dreamlike atmospheres were created. Though three poems of Shenxian of Li He do not have clear structure of ‘greeting gods’ and ‘seeing off gods’ different from literary works of other poets in the contemporary time, the compiler of Yuefushiji recorded 「Shenxianqu」 and 「Shenxianbiequ」 together by making a pair with them in the structure. The three poems of Shenxian of Li He are evaluated to have learned and imitated Jiuge just like other literary works of similar characteristics in the contemporary period. However, the three poems of Shenxian of Li He artistically deepened of Jiuge and succeeded to the spirit of Quyuan as the creator. Li He felt a sense of kinship with Quyuan as the writer of Jiuge. Through the spirit and life of Quyuan as a poet, he intended to find and express himself.