從《墨子》〈非樂〉談《荀子》〈樂論〉

墨子應為先秦文獻中最早對於音樂提出較完整意見的第一位思想家。他舉出樂器、能彈奏樂器產生音樂的演奏者、能欣賞音樂的聽眾這三項認識活動的雛型來建立定點當作橫座標，引古史殷鑑當作縱座標，另外在縱橫座標交錯之間質疑音樂的本質，從這五個角度完整觀察音樂活動，層層補充說明非樂的相關論點，檢閱《荀子》〈樂論〉全文，很明顯是回應《墨子》〈非樂〉的答辯文章。墨子〈非樂〉為《荀子》〈樂論〉提供一套討論音樂的架構。墨子詰問何謂音樂的本質，讓荀子消化經典傳統，整理出儒家音樂的特質：音樂是源於人心內在性惰，感染的力量弘大，但是可正可邪，先王為主導整體音樂政策走向的關鍵，所推崇的音樂是禮樂、雅樂、和樂與道樂。《荀子》〈樂論〉堅守周代禮樂的璀燦文明為思考起始，以關懷人文教化的立場來回應墨子有關樂器、演奏、觀眾與歷史諸項問題。是故平心而論，要談先秦儒家音樂理論，不宜因為墨子的非樂態度，便忽略他對於荀子的啟發，亦應注意墨子非樂相關論點。

關鍵字

對話；非樂；樂論；樂器；演奏；聽泉；音樂與歷史；音樂的本質

並列摘要

Mo Tzu should be the first philosopher in Pre-Chin to offer a systematic opinions about music. He brought up three points: the musical instrument, the player, and the audience as the indicators along the X coordinate, history as the Y coordinate, and the nature of music as the origin of the coordinate. From these five points, he expressed his criticism against music. It is obviously that ＂'on music'＂ in ＂Hsun Tzu＂ was a response to what Mo Tzu said in ＂'against music'＂. Mo-Tzu's ＂'against music'＂ provided a prototype for ＂Hsun Tzu's 'on Music'＂. Reflecting on the natures of Confucian music, Hsun Tzu thought that the origin of music was inner emotion; the affective power of music was great, but could go in both positive and negative ways; the former kings orientated the whole policy of music, good music included ritual music, classical music, harmonious music, and transcendental music. Hsun Tzu insisted on the heritage of the full -fledged rite and music in Chou civilization, and argued for music for its effect of spiritual enlightenment as a response to all the questions raised by Mo Tzu. So, if we want to discuss Confucian music, we have to pay attention to Mo Tzu's inspiration on Hsun Tzu.

並列關鍵字

music instrument ； player ； audience ； music on history ； nature of music ； rite and music civilization of Chou ； Origin of music ； former king ； policy of music ； ritual music ； classical music ； harmonious music ； transcendental music

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從《墨子》〈非樂〉談《荀子》〈樂論〉

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