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詩-禮-樂的「性與天道」論

The "Nature and Way of Heaven (Xing and Tiandao)" Dimension of Poetry-Etiquette-Music

摘要


本文透過上世紀末出土文獻,重新探討孔孟之間的儒家文化理論。本文將詩-禮-樂三者連結一起,視為同一種文化精神的不同面向的表現。孔孟之間的戰國儒家一方面強調詩-禮-樂的人性根源,一方面強調詩-禮-樂的本質內在於大自然本身,詩-禮-樂有「性與天道」的向度,這個向度恰好是孔子不說的。戰國早期儒者所以著重詩-禮-樂的「性與天道」向度,乃是為因應墨家等諸子對儒家文化的抨擊,更重要的是要回應老子這種思辨型哲人的挑戰。戰國儒家相信人有表現的性格,這種性格和大自然的本性(天道)有種玄秘的同質性,它需要表現出詩-禮-樂這樣的文化。所以文化既不是墨家所批判的那種多餘,也不是老子所批判的那種異化。戰國早期儒家對儒家思想的定位介於孔孟之間,在時間及知識型態上都是如此。

並列摘要


This paper re-discusses the Confucian culture theory in the period between Confucius and Mencius by using the newly excavated documents. This article tries to make a connection among poetry, etiquette, and music, and treat them as three different dimensions of one same culture spirit. The Confucians in the period between Confucius and Mencius emphasized that poetry-etiquette-music has its root in human nature on the one hand, and stressed it has the root in Nature on the other hand. They pointed out Poetry-etiquette-music has the dimension of "Nature and Way of Heaven(Xing and Tiandao) " which we can not find in the teachings of Confucius. The reason that Confucians in the early Warring States Period put emphasis on the "Xing and Tiandao" dimension of poetry-etiquette-music is that they needed to respond to the attacks from Mohist and other schools, especially the challenges from speculative philosophers like Lao-tzu. Those Confucians believed that the human expressive nature has a mystic homogeneity with the nature of cosmos (Tian-dao), and the culture like poetry-etiquette-music is its natural expression. Therefore, culture is neither a superfluous thing nor an alienation as Mohists and Lao-tze criticized. Both in the knowledge spectrum and in the chronological sense, the historical position of Confucians in the early Warring States Period is between Confucius and Mencius.

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