孔子前后的“乐”  

“Music” before and after Confucius

作　　者：黄克剑[1] HUANG Kejian(School of Chinese Classics,Renmin University of China,Beijing 100872,China)

机构地区：[1]中国人民大学国学院,北京100872

出　　处：《河北师范大学学报（哲学社会科学版）》2021年第5期1-15,共15页Journal of Hebei Normal University(Philosophy and Social Sciences)

摘　　要：上古“绝地天通”前后的“乐”虽因“事神”方式的不同而不同,但其归趣皆在于顺适神意以“致福”;至殷周之际,“乐”之为教因“德”意识的觉醒而为之一变,周人之“乐”较自觉地引入了“德”的内涵,从而把“致福”(以至于“祈天永命”)同“敬德”“明德”关联起来。如果说“德”的概念的引入使西周以来的“礼”“乐”与前此的“礼”“乐”从根本上区别开来,那么可以说,“仁”的概念的引入改变了周初就已提出的“德”的内涵,而最终使孔子倡说的“礼”“乐”不再是周公制作的“礼”“乐”——起自孔子的“乐”有了养“仁”于“德音”的价值取向。倘以“常道”为“经”,作为“六艺”之一的“乐”自有其常道,此常道的贞定始于孔子,而此后一直为七十子以至孟子、荀子及汉初之儒者所阐抉。《乐记》可谓为这延续着的阐抉的相对完成,其既以《记》《传》名之,那便意味着对一种相应于《记》《传》的“经”的认可,尽管这“经”不曾传诸简帛之载述。After the legendary event of “restoring the normal human-gods relationship” in remote antiquity,the “music” of ancient China underwent a certain change due to people’s different way of serving gods,nevertheless,the aim of musical activities remained the same,namely to please gods in the hope of “fortune”. By the transitional period between the Shang and Zhou Dynasties,“music” as a kind of human civilizing activity experienced a dramatic change due to the awakening of moral consciousness,for the Zhou people consciously introduced moral connotation into musical performance and in doing so related “fortune” seeking to “virtue” valuing and manifesting.While the introduction of “morality” differentiated the “ceremony” and “music” before and after the Zhou Dynasty fundamentally,the introduction of “benevolence” by Confucius changed furthermore the connotation of “morality” put forward in the early Zhou Dynasty.The “ceremony” and“music”advocated by Confucius were thus no longer those initially formulated by Duke Zhou.Since Confucius’time,“music” was given the value of cultivating “benevolence” with “morality-oriented melody”.If we take “scripture” as the expression of “Tao” itself,it may be safe to say that “music”,as one of the “Six Arts”,is a classical “scripture” too,for it has its own “Tao”,which was paved by Confucius and whose rich connotation were elucidated by Confucius’70 disciples,by Mencius and Xunzi,and by Confucians of the early Han dynasty.The coming into being of Commentary on Music marks an accomplishment of these continuous efforts of elucidation,and the book’s name just indicates an acknowledgement of “music” as a classical “scripture”,although this “scripture” can be found in no written forms,for according to the ancient Chinese academic tradition,a “scripture” often acquires its classical status by gaining for itself a “commentary.”

关 键 词：孔子 乐 仁 《乐记》 乐经 

分 类 号：B222.2[哲学宗教—中国哲学]