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十九世纪末叶的法国革命活动家保尔·拉法格,在一篇论述民歌和婚礼的文章中,引述了这样一段话:“不论谁信口编唱的一支歌,被成千上万信口编歌的人随意修改。谁也没有在这支歌上签名盖章,可是大家全参加了意见。真正的作者是唱这支歌的人民,一边唱一边陆续加以修改,使它更忠实地适合于人民的思想。”这不仅是民间的歌谣如此,凡是口头文学,都存在着这一基本的,同时也是极其重要的客观规律:它不是,也不可能是属于个人的,而是属于集体的,人民的。否则,它就不可能表达出从遗忘中挽救出来的人民的思想、感情、意志和愿望!它也就不会为人们以口耳相授,世代承传,一直流传到今天,为广大的人民所喜闻乐见,热烈欢迎了。口头或书面的民族民间文学,它的生命力之所
In a essay on folk songs and weddings, Paul Lafargue, a French revolutionary activist at the end of the nineteenth century, quoted the following passage: “No matter whoever I sing, The people who edited the lyrics were free to modify, and no one had signed and sealed the song, but all of us joined in. The true author was the one who sang the song, while changing it to make it more faithful Is suitable for the people’s thoughts. ”This is not only folk songs so that all oral literature, there is this basic, but also an extremely important objective law: it is not, it can not belong to individuals, but belong to Collective, people’s. Otherwise, it will not be able to express the thoughts, feelings, will and desire of the people saved from its forgetfulness, and it will not be impartial to people for generations. It has been handed down from generation to generation and has spread to the people today I like to hear, warmly welcome. Oral or written national folk literature, its vitality