清华简“诗”文献包括《周公之琴舞》、《芮良夫毖》和《耆夜》等三篇。本文第一部分在整理者释文基础上，辑录学界研究中参考价值较大的考释意见，对诸句和重点字词做出按语，提出部分新解。如《周公之琴舞》“文非易帀”类于《诗》《书》所谓“天命不易”，“易”当读为“敡”，有轻慢之义。《芮良夫毖》“道读善败”之“道”当是《周礼》“乐语”之“道”，“读”当有“诵读”义。第二部分，着眼于各篇的文本性质和《诗》的成书史，考察三篇的学术史意义。《周公之琴舞》中儆毖部分的文辞，最初是为宗庙祭祀等典礼而作的仪式用辞，“入乐”之后与那些乐章术语一起组成了《周公之琴舞》文本。《芮良夫毖》中儆毖部分的文辞，最初是芮良夫所作讽谏儆毖之辞，经过列士公卿献诗的方式进入仪式所用乐歌行列，“入乐”之后与那些乐章术语一起组成了《芮良夫毖》文本。《诗》脱离音乐背景后作为单纯的诗文本而存在，《周公之琴舞》和《芮良夫毖》也只以类似于后世箴体文的文本存在。《耆夜》篇存在“兴”“道”“诵”等方式的“乐语”功能。作为贵族子弟诗教教本的《耆夜》篇，一方面以饮至礼中武王和大臣间的酬酢赋诗为例，训练贵族子弟在礼乐活动中的言语能力。另一方面，以五首诗共同的诗旨表达出特定的教化思想。简本和今本《蟋蟀》都是由一个文辞大致稳定的文本衍化而来，分别进入两个不同的流传系统，在两个不同流传系统中都经过了改编和加工。简本所处流传系统的特色在于，保留了“岁聿其落”这些天象说法，而且用词相对丰富。今本改编后句式更加整齐，用韵错落有致。二者诗旨也不同，从最初“适时行乐但又乐而毋荒”的主题思想，分别衍生出两种不同的诗旨。战国时代“诗本事”风气兴起，可能存在多种《诗》传。《蟋蟀》的创作与唐地有关是不同的《诗》传中共通的历史信息，只是在不同《诗》传中经过了不同的发挥和改编。 《周公之琴舞》与《周颂》可能共同源自西周典礼仪式用辞，但却是不同流传系统的产物。前者本是重“声”系统的乐章文本，后者是重“义”系统的诗教教本。战国时代流传的诗文本有多种形式，既有稳定的诗文结集《诗》，也有与《大武》这种单独流传的乐章文本相类似的《周公之琴舞》。
The poetic texts of Tsinghua Bamboo Slips contain Zhou gong zhi qin wu 周公之琴舞, Rui liang fu bi 芮良夫毖 and Qi ye 耆夜. Based on the initial document collation, in the first part of this paper, we compile the valuable views of scholars, and then chose the correct views, replenish researchers’ views. Furthermore, we add some annotations and new interpretations. For example, the wen fei yi shi 文非易帀 on the sixth slip of Zhou gong zhi qin wu resembles ming bu yi zai 命不易哉 in Jin zhi 敬之, we should read the word yi 易 as yi 敡 which means contemning the heaven. The dao 道 of dao du shan bai 道读善败 on the seventeen slip of Rui liang fu bi is in fact the music language of The Chou Rituals周礼, and du 读 means scansion. In perspective of the text nature and the compilation history of Shi诗, We will attempt to make a comprehensive study of the poetic texts’ value of the academic history in the second part. Zhou gong zhi qin wu is composed of movement language and the admonition which is originally prayer in the he ceremony of sacrificing ancestors. Rui liang fu bi is composed of movement language and admonition of Rui liang fu, and then present to Zhou court music. Out of touch with the background of music, Shi is just poem text. Zhou gong zhi qin wu and Rui liang fu bi turn to the genre of Zhen箴。 The chapter Qi Ye耆夜 is an important document of poetic education in Zhou dynasty. This paper also attempts to reveal the training of ritual and music language in this chapter, including Xing兴, Dao 道and Song诵. On the one hand, the text is used to train the capacity of language in ritual ceremony. On the other hand, moral education is the main purpose of this text. This text proves that the YueYu乐语of The Chou Rituals have two functions: language and moral education.Both Bamboo and Modern version of XiShuai蟋蟀are mutually independent written instantiations of an essentially the same wording largely stable text. In different transmission system, the Bamboo version succeeds the words of astronomical phenomena and has copious vocabulary. The Modern version has regular syntactical structure and rhyme. Both versions also have different poetical purport deriving from the original stable version which aim to advocate that the gentleman should be pleased and restful without wild extravagance. There were different Commentaries of Shi against the background of making up anecdotal story of poems in the Warring States Period. In different Commentaries, there were common historical clues which were revised for different purpose. Zhou gong zhi qin wu and Odes周颂derive from the expression of praise in West Zhou ceremonies, but translate into different genre of text. The former emphasizes the function of music, the latter emphasizes the function of doctrine. There are many genres of poem, including the collected poems Shi and the signal movement words Zhou gong zhi qin wu which can be compared with Da Wu大武.
