〈九章〉與〈離騷〉同是屈原辭中哀歌「情境」的典範，由於〈離騷〉所表現「情境」已超越詩人生命的現實歷程而可作為屈原辭的典型，加上被習稱「小離騷」的〈九章〉時地、真偽與單篇是過去研究熱點，故而相關〈九章〉的整體、比較研究較為薄弱。本文認為〈九章〉可視為「以類相從」之作，其篇幅長短、表現形式和語言風格相近，情感表現亦大抵相同，且大都瀰漫著哀婉的悲歎以及追懷過往事件情調的哀歌性質體現得更為充分。洪興祖《楚辭補注》云：「〈騷經〉之詞『緩』，〈九章〉之詞『切』，淺深之序也。」發現二文的區別可謂極有見地，唯「淺深之序」一語顯得籠統。本文即擬通過自稱代詞、發憤抒情、地可以怨等「構形」層面的描述性分析，具體而微地闡述作為哀歌的〈九章〉有別於〈離騷〉之「詞『切』」的情感書寫。需要說明的是，因為〈橘頌〉在〈九章〉中風格迥異且獨具別格，與其他篇章之關係與聯繫的解讀尤其複雜，且可以獨立成文，故將另文處理，本文暫不討論

Both The Nine Elegies and Li Sao are epitomes of the Situation of Elegy in Qu Yuan's prose poems. The Situation of Elegy revealed by Li Sao has overstepped the poet's real life and become a typical example of Qu Yuan's prose poems; at the same time, The Nine Elegies are often regarded as a group of poems, and the creation date and site, the authenticity of each poem, and the single studies of each elegy are hot topics in previous studies. Consequently, the overall study of The Nine Elegies has been relatively weak in the past. As a matter of fact, all the poems of The Nine Elegies are sequenced in categories, and the length, the form of expression and the language style of each poem are similar, as well as the emotional expressions; yet the nature as elegies are reflected more sufficiently in The Nine Elegies. Hong Xingzu made some knowledgeable remarks on Qu Yuan's prose poems in his ChuCi BuZhu, in which he said, ＂The diction of Li Sao is soothing, while that of The Nine Elegies is pressing. The difference between the two is in the sense of propriety＂. However, the remark of the sense of propriety is to some extent ambiguous. This paper will elaborate in detail the ＂pressing＂ emotional writing in The Nine Elegies, which is different from that of Li Sao, by descriptive analysis of the self-pronouns, the angry lyrical songs and the expression of resentment through the sites of writing in the poems