嵇康〈琴賦〉研究──兼與〈聲無哀樂論〉之比較

本論文旨在闡發〈琴賦〉思想，並以〈琴賦〉之論為基，說明〈聲無哀樂論〉的幾項議題。第一章緒論介紹了歷來關於〈琴賦〉的研究。注釋類研究主要見於《文選》，除了六臣注外，清代的學者對於字詞的考據尤下工夫；析論類研究主要見於〈聲無哀樂論〉的討論當中，偶有專以〈琴賦」為研究對象者。惜以上研究皆有些許不足，未能完整呈現〈琴賦〉的思想特色。第二章〈琴賦〉段落解析，詳細說明各段要旨，以釐清〈琴賦〉的內容。同時也顯現嵇康〈琴賦〉與其他器樂賦的不同。第三章〈琴賦〉思想析論，則從〈琴賦．序〉建立〈琴賦〉的思想架構，闡明〈琴賦〉中關於彈奏、聆賞、音聲之理、琴德之思想。首要釐清者乃音樂對於奏者的意義；接著討論聽者如何能理解奏者；其三則說明音聲之理何以能成就音樂、奏者、聽者的理想關係；最後則論述琴德之義，以明「琴」如何使上述所論圓滿實現。第四章藉著上述〈琴賦〉的討論，說明〈聲無哀樂論〉的幾項議題。第一節說明「聲」與「樂」的區分，作為以下論述的憑藉。第二節討論〈聲無哀樂論〉的相關問題：在「和聲」涵義方面，先介紹嵇康之前關於音樂之「的」的兩種涵義，並融通「和聲」之樂理義與玄理義；在「移風易俗」的問題上，則說明聽者「前識」對於聆「樂」的危險性，並論嵇康對先王之樂、鄭聲的看法；關於主體與客體的關係，則從主體的修養進程來討論。第三節則比較嵇康與漢斯利克之異同，進一步呈現〈琴賦〉與〈聲無哀樂論〉的差異。第五章結論除了綜述全文，亦舉例說明嵇康之後關於「琴」的爭論，並列舉說明音樂價值的種種方式，給予嵇康音樂思想更清楚的定位。附錄〈琴賦〉注釋，在現有的注釋基礎上，擇取適當注解，若有未盡，再於《說文》、《文選》其他篇章尋找旁證。除了為字詞作注，也考慮整篇文章的段落承接，使注解不違文章旨意，避免注解支離的問題。

關鍵字

琴賦；聲無哀樂論；嵇康；古琴；漢斯利克

並列摘要

The purport of this essay is explicating the thought of Ji-Kang‘s Qin-Fu (the Poetical Essay on the Qin), with which the several topics in Sheng-Wu-Ai-Le-Lun (the Treatise on the Sound without Sorrow and Joy) are also elucidated. In the first chapter, the annotations and nowadays researches are introduced. The annotations to Qin-Fu are mostly seen in the Wen-Xuan, including the annotations of the Six Officials and the scholars in the Qing dynasty, who made efforts to the exegetic work. As to the discourse on Qin-Fu, it is usually seen in the essays on Seng-Wu-Ai-Le-Lun, and the essays which focus on Qin-Fu are seldom. Unfortunately the thought of Qin-Fu can not be entirely elucidated by these researches due to some deficiencies. In the second chapter, the purport of every paragraph will be detailed. With the explanation the differences between the Qin-Fu and other articles about instrument can also be seen. In the third chapter, the structure of the thought in Qin-Fu will be built with the aid of Ji-Kang‘s preface. Firstly, the significance of music to players will be illuminated; secondly, we will discuss how listeners are able to understand players; thirdly, we will talk about the reason why music can present the ideal relationship between music, players, and listeners; and at last we will explicate the virtue of Qin, which perfectly fulfills the theories above. In the forth chapter, the several topics in Seng-Wu-Ai-Le-Lun will be discussed through the thought of Qin-Fu. In the first section, we make a distinction between Sheng and Yue and use this distinction as the basis in this chapter. In the second section, we fuse the auditory and philosophical meanings of Harmony, explain the possible danger of pre-consciousness for listeners, discuss Ji-Kang‘s opinion on the music of Cheng, and elucidate the relationship between the subjective and the objective. And in the third section there will be a comparison between the thought of Ji-Kang and Eduard Hanslick. In the conclusion, the main points of the former chapters will be emphasized. Moreover, we use an example to present the argument about Qin after Ji-Kang. And we also introduce a variety of ways to interprete the significance of music, making the characteristic of Ji-Kang‘s musical thought more clear. In the appendix, the appropriate annotations will be chosen among the former researches or be explained with the evidence in other literature. Besides, to make the annotations compatible with the main ideas of Qin-Fu, the connection between the paragraphs will also be considered.

並列關鍵字

Qin-Fu ； Seng-Wu-Ai-Le-Lun ； Ji-Kang ； Qin ； Eduard Hanslick

參考文獻

唐君毅《中國哲學原論．原道篇》卷二（台北：臺灣學生書局，1986年）

莊萬壽《嵇康研究及年譜》（台北：臺灣學生書局，1990年）

戴璉璋《玄智、玄理與文化發展》（台北：中央研究院中國文哲研究所，2002年）

張少康〈嵇康的《聲無哀樂論》及其在中國文藝思想史上的意義〉，《中外文學》第二十卷第一期，1991年6月，頁21－32

李美燕〈從《聲無哀樂論》探析嵇康的「和聲」義〉，《鵝湖》第26卷第9期，2001年3月，頁40－50

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嵇康〈琴賦〉研究──兼與〈聲無哀樂論〉之比較

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