本文選題：孟子 + 樂　； 參考：《山東大學》2017年碩士論文

【摘要】："樂"是中國哲學中的一個重要概念。"樂"字的"yue(悅)"和"le(勒)"兩種讀音分別對應著兩個重要的含義,即音樂和快樂,這兩種含義之間有著密切聯(lián)系,這一聯(lián)系正是本文的研究切入點。據(jù)考證,"樂"字的兩種主要字音和字義出現(xiàn)的都很早,但是二者出現(xiàn)的先后目前卻難以確定。根據(jù)文字含義由具體到抽象的一般演變過程、《說文》及其他古籍的記載以及字音字義的對應性三個方面的證據(jù),本文傾向于認為"樂""的yue(悅)音和音樂義在前,le(勒)音及快樂義出現(xiàn)的稍晚。雖然從文字產(chǎn)生的源頭處說,"樂"之音樂義早于快樂義,但根據(jù)現(xiàn)有可靠文獻的記載,這兩種含義均在春秋之前就已經(jīng)被廣泛使用。本文列舉了孟子之前的古籍中"樂"字的出現(xiàn)和使用情況:《周禮》中"樂"均是音樂義,并且多用在樂官和樂儀的名稱中,眾多的樂官和大量的樂儀體現(xiàn)了周初樂教之盛;在《詩經(jīng)》中,"樂"多為快樂義:在其他典籍,如《尚書》、《老子》中,也出現(xiàn)了少量的"樂"字,且快樂義和音樂義均有使用。雖然"樂"字的兩種主要字義本就存在聯(lián)系,但是在這些古籍中,并沒有出現(xiàn)二者之間的直接互動,二者的聯(lián)系并未得到體現(xiàn)�？鬃永^承了周初的樂教傳統(tǒng),并且將樂教的作用從教化民眾的政治領(lǐng)域擴展到塑造個體人格的人生哲學領(lǐng)域,這實際上就是對于"樂"的兩種含義的融通。孔子的樂教思想,主要體現(xiàn)在"興于《詩》,立于禮,成于樂"這一句話中。"興—立—成"是孔子認為的人的人格養(yǎng)成的三個階段,它們的不同之處體現(xiàn)在《詩》、禮、樂三者對于人的情感產(chǎn)生的不同的作用中:《詩》的作用是激發(fā)人的情感;禮的作用是節(jié)制人的情感;而"樂"的作用就是消除人的情感抒發(fā)和理性約束之間的緊張,使得人的情感能夠穩(wěn)定地、適度地暢發(fā),從而形成一種崇高的人生境界,《論語》中的"孔顏之樂"即是這種境界。孟子作為孔子思想的繼承者,其"樂"的思想受孔子的影響很深。相對于"孔顏之樂",孟子的"樂"的思想更加豐富且具有層次感。本文將孟子之"樂"分為君子之樂、君王之樂、"反身而誠"之樂三個層次進行考察。關(guān)于君子之樂,本文圍繞孟子的"君子三樂"說展開論述:首先,明確了"君子三樂"是特定時代背景下的產(chǎn)物;其后,從孟子對于親情的重視、對個人修養(yǎng)的強調(diào)以及以傳承孔子思想為己任這三個角度論證"君子三樂"產(chǎn)生的必然性;最后,結(jié)合孟子之"樂"的層次性特質(zhì),回答了"為何'王天下'不在'君子三樂'中"這一問題。對于君王之樂的解讀,本文以"賢者而后樂此"和"今之樂猶古之樂"兩個論斷為重點,著重強調(diào)了君王之德和"與民同樂"對于君王之樂的獲得的決定性作用。與君子之樂和君王之樂不同,"反身而誠"之樂以不附加任何具體身份的、直接承天命而生的、純粹的人為主體,這決定了 "反身而誠"之樂在孟子之"樂"中的核心地位,因為,無論是君子還是君王抑或是社會中的其他角色,首先都是"人"。"反身而誠"是在孟子哲學中的核心修養(yǎng)方法:一方面,人要懂得"自反";另一方面,"自反"的標準是"誠"。"誠"是儒家哲學最重要的范疇之一,孟子認為,"誠"是"天之道",而"人之道",就是以與"天之道"相合為目標,因此"反身而誠"而獲得的快樂,是"天人合一"境界中的快樂,是莫大的快樂。在對孟子之"樂"進行分層梳理后,本文最后一章以"合"的眼光審視孟子之"樂"的特征。情感問題是孟子哲學中的重要問題。孟子之"樂"作為一種情感,和情境化的情感不同,是理性化了的情感。孟子之"樂""的理性化體現(xiàn)在兩個方面:一是孟子之"樂"以人性依據(jù);二是孟子之"樂"帶有道德性。以人性為根據(jù)而產(chǎn)生的快樂,使得孟子之"樂"具有"常"的特點,因為這種快樂的獲得不依賴于外部世界,是自足的,"反身而誠"之樂即是如此。另一方面,由于孟子認為人性本善,因此,以人性為根據(jù)而產(chǎn)生的快樂,又是道德性的,無論是君子之樂還是君王之樂,抑或是"反身而誠"之樂,這些快樂都帶有道德性,因此,孟子之"樂"和孔顏之樂一樣,都是一種境界型的快樂。
[Abstract]:"Music" is an important concept in Chinese philosophy. The two pronunciations of "Yue (Yue" "" "" "" and "Le (LE)" correspond to two important meanings, namely, music and happiness, which are closely linked between the two meanings. This connection is the breakthrough point of this article. According to the textual research, the two main words and meanings of the word "Yue" appear very early, but It is difficult to determine the occurrence of the two. According to the general evolution process of the meaning from the concrete to the abstract, the records of the text and other ancient books and the correspondence of the phonetic meaning, this article is inclined to think that the Yue (Yue) sound and the musical meaning of the "music" are in the front, the Le (LE) and the happy meaning appear later. At the source of the origin of the word, the music meaning of "music" is earlier than happiness, but the two meanings are widely used before the spring and Autumn period according to the existing reliable documents. This article enumerates the appearance and use of the word "music" in the ancient books of Meng Zi: the "music" in the Zhou rite is all the music meaning, and is used in the name of the music officer and the music instrument. A large number of music officials and a large number of music instruments embody the prosperity of the first music of the Zhou Dynasty; in the Book of Songs, "music" is mostly happy meaning: in other classics such as Shang Shu, Lao Tzu, there are also a small number of "happy" words, and both happy and musical meanings are used. Although the two main characters of the word "Yue" are connected, but in these ancient books, there is no appearance. The direct interaction between the two has not been reflected in the relationship between the two. Confucius inherited the tradition of music teaching at the beginning of the Zhou Dynasty, and extended the role of music teaching from the political field of teaching people to the life philosophy field of shaping individual personality. This is actually the two kind of fusion of "music". Confucius's thought of music teaching is mainly embodied in "Xing". In the sentence of "poetry", "Li Yu", "Li" is the three stage of "Xing Li Cheng", "Xing Li Cheng" is the three stage of personality cultivation of people. Their differences are reflected in the different functions of "poetry >", "rite" and "music" to the emotion of human being: the function of "poetry" is to stimulate human emotion; the role of ritual is to control the emotion of people; and the role of "music" is the function of "music" It is to eliminate the tension between emotional expression and rational restraint, which makes the human emotion stable and smooth, thus forming a lofty realm of life, and the "Confucius and Yan music" in the Analects of Confucius is the realm. As a successor of Confucius thought, Meng Zi's "music" is deeply influenced by Confucius. Meng Zi's "music" thought is more rich and has a sense of hierarchy. This paper divides Meng Zi's "music" into the three levels of the music of the gentleman, the music of the king, and the music of "the anti body and sincerity". The article about the music of the gentleman is discussed around Meng Zi's theory of "the three pleasures of the gentleman": first, it is clear that the "gentleman's three music" is the product of the specific era; thereafter, from Meng Zi's attention to the importance of the family, the emphasis on personal accomplishment and the three angles of inheriting Confucius's thought are the inevitability of the generation of "the three music of the gentleman". Finally, according to the hierarchical nature of Meng Zi's "music", it answers the question of "why 'the king' is not in 'the three music' of the gentleman". With the emphasis on "and" the "music of the ancient music", the author emphasizes the decisive role of the king's virtue and the "happiness of the people" for the music of the king. It is different from the music of the gentleman and the music of the king, and the music of "anti body and sincere" is not attached to any specific identity, which directly bears the life and is born of a pure human body. This is decided by the two The core position of "anti body and sincerity" is the core of Mencius "music" because, whether the gentleman or the king or other roles in the society, first is the "man". "Anti body and sincerity" is the core cultivation method in Mencius philosophy: on the one hand, people should understand "self counter"; on the other hand, the standard of "Reflexivity" is "sincerity". "Sincerity" is the most important Confucian philosophy. One of the categories, Meng Zi believes that "sincerity" is the "way of heaven", and "the way of man" is the goal of combining the "Tao of heaven". Therefore, the happiness obtained by "anti body and sincerity" is the joy in the realm of "harmony between heaven and man" and a great pleasure. After the delamination of Meng Zi's "music", the last chapter of this article examines Meng Zi's "music" with a "harmony" view. The emotional problem is an important issue in Meng Zi's philosophy. Meng Zi's "music", as an emotion and a situational emotion, is a rational emotion. The rationalization of Meng Zi's "music" is embodied in two aspects: one is Meng Zi's "music" based on human nature; and the two is the morality of Mencius "music", and the happiness produced on the basis of human nature. Meng Zi's "music" has the characteristics of "constant", because this happiness is not dependent on the external world, it is self-sufficient, "anti body and sincere" music is so. On the other hand, because Meng Zi thinks human nature is good, so the happiness produced on the basis of human nature is moral, whether it is the music of gentleman or King's music, or "counter". The joy of body and sincerity is all moral. Therefore, Meng Zi's music, like Kong Yan's music, is a form of happiness.

【學位授予單位】：山東大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：B222.5

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