音詩水想－倫理意象之一環

水的意象不僅僅是詩與藝術的重要憑藉，同時也常見於道德修辭。本文擬從當代法國兩位哲學家有關水意象在詩與音樂方而的論述發現爲本，進一步檢視此種意象修辭的思想意涵。巴修拉在詩學脈絡下蒐羅多樣的水的意象，然而，若集中於倫理想像，則可以思索「淨化」、「活水」等詞所具的一般道德隱喻。其次，以倫理學著作聞名的楊可烈維契則在論述佛瑞與德布西的音樂風格差異時，注意到水的意象被分別以不同面貌想像著。在佛瑞的音樂中，以「活水」作爲連續性與精確的構想，進而闡發出主體的神韻與韻律，此種韻律連結著宇宙跟人的根本關連，成爲無以名之的「神采」。而德布西音樂中多樣的水意象中，具主導意味的乃是產生映象的止水、水的結晶，相對地，其音樂特徵乃是瞬間性的。因此本文希望透過此兩種藝術經驗中的水意象，分析在倫理想像上論述構成，進而檢討此種倫理想像中自然意象的特殊性，思考有關想像與實踐主體的內在關連，期望能夠透過藝術經驗的哲學分析，幫助檢視道德修辭策略一個環節，爲豐富的實踐生活提供一個反省面向。

關鍵字

水；詩；音樂；想像；時間；自由

並列摘要

In Chinese ethical rhetoric tradition, the aquatic image is full of sense in Confucian discourse and even in Taoist discourse. To explore the meaning of this rhetoric usage, this paper tries to analyze the water image both in Gaston Bachelard's poetics and in Vladimir Jankélévitch's musical discourse. Under the multiple images of water, one moral usage as purification through living water seems central in the connection of ethical imagination and natural image. Bachelard collected various images in this aspect and supplied a typical discourse. Jankélévitch discovered in Fauré the main image as living water which symbolizes the continuity and precision in music, and also in subjective life. But in Debussy, the aquatic images move rather to the reflect in water and the crystallization, which characterize the sense of the instant in music. The temporality in Debussy is quite different in this analysis. We then ask ii these aesthetical discourses about artistic experiences can give a type of relation between ethical rhetoric and natural images. This relation helps us to understand the function of imagination in the practical subject, especially by of the artistic experience.