孟子“乐”观研究

发布时间：2018-05-15 03:09

本文选题：孟子 + 乐　；参考：《山东大学》2017年硕士论文

【摘要】："乐"是中国哲学中的一个重要概念。"乐"字的"yue(悦)"和"le(勒)"两种读音分别对应着两个重要的含义,即音乐和快乐,这两种含义之间有着密切联系,这一联系正是本文的研究切入点。据考证,"乐"字的两种主要字音和字义出现的都很早,但是二者出现的先后目前却难以确定。根据文字含义由具体到抽象的一般演变过程、《说文》及其他古籍的记载以及字音字义的对应性三个方面的证据,本文倾向于认为"乐""的yue(悦)音和音乐义在前,le(勒)音及快乐义出现的稍晚。虽然从文字产生的源头处说,"乐"之音乐义早于快乐义,但根据现有可靠文献的记载,这两种含义均在春秋之前就已经被广泛使用。本文列举了孟子之前的古籍中"乐"字的出现和使用情况:《周礼》中"乐"均是音乐义,并且多用在乐官和乐仪的名称中,众多的乐官和大量的乐仪体现了周初乐教之盛;在《诗经》中,"乐"多为快乐义:在其他典籍,如《尚书》、《老子》中,也出现了少量的"乐"字,且快乐义和音乐义均有使用。虽然"乐"字的两种主要字义本就存在联系,但是在这些古籍中,并没有出现二者之间的直接互动,二者的联系并未得到体现。孔子继承了周初的乐教传统,并且将乐教的作用从教化民众的政治领域扩展到塑造个体人格的人生哲学领域,这实际上就是对于"乐"的两种含义的融通。孔子的乐教思想,主要体现在"兴于《诗》,立于礼,成于乐"这一句话中。"兴—立—成"是孔子认为的人的人格养成的三个阶段,它们的不同之处体现在《诗》、礼、乐三者对于人的情感产生的不同的作用中:《诗》的作用是激发人的情感;礼的作用是节制人的情感;而"乐"的作用就是消除人的情感抒发和理性约束之间的紧张,使得人的情感能够稳定地、适度地畅发,从而形成一种崇高的人生境界,《论语》中的"孔颜之乐"即是这种境界。孟子作为孔子思想的继承者,其"乐"的思想受孔子的影响很深。相对于"孔颜之乐",孟子的"乐"的思想更加丰富且具有层次感。本文将孟子之"乐"分为君子之乐、君王之乐、"反身而诚"之乐三个层次进行考察。关于君子之乐,本文围绕孟子的"君子三乐"说展开论述:首先,明确了"君子三乐"是特定时代背景下的产物;其后,从孟子对于亲情的重视、对个人修养的强调以及以传承孔子思想为己任这三个角度论证"君子三乐"产生的必然性;最后,结合孟子之"乐"的层次性特质,回答了"为何'王天下'不在'君子三乐'中"这一问题。对于君王之乐的解读,本文以"贤者而后乐此"和"今之乐犹古之乐"两个论断为重点,着重强调了君王之德和"与民同乐"对于君王之乐的获得的决定性作用。与君子之乐和君王之乐不同,"反身而诚"之乐以不附加任何具体身份的、直接承天命而生的、纯粹的人为主体,这决定了 "反身而诚"之乐在孟子之"乐"中的核心地位,因为,无论是君子还是君王抑或是社会中的其他角色,首先都是"人"。"反身而诚"是在孟子哲学中的核心修养方法:一方面,人要懂得"自反";另一方面,"自反"的标准是"诚"。"诚"是儒家哲学最重要的范畴之一,孟子认为,"诚"是"天之道",而"人之道",就是以与"天之道"相合为目标,因此"反身而诚"而获得的快乐,是"天人合一"境界中的快乐,是莫大的快乐。在对孟子之"乐"进行分层梳理后,本文最后一章以"合"的眼光审视孟子之"乐"的特征。情感问题是孟子哲学中的重要问题。孟子之"乐"作为一种情感,和情境化的情感不同,是理性化了的情感。孟子之"乐""的理性化体现在两个方面:一是孟子之"乐"以人性依据;二是孟子之"乐"带有道德性。以人性为根据而产生的快乐,使得孟子之"乐"具有"常"的特点,因为这种快乐的获得不依赖于外部世界,是自足的,"反身而诚"之乐即是如此。另一方面,由于孟子认为人性本善,因此,以人性为根据而产生的快乐,又是道德性的,无论是君子之乐还是君王之乐,抑或是"反身而诚"之乐,这些快乐都带有道德性,因此,孟子之"乐"和孔颜之乐一样,都是一种境界型的快乐。
[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.

【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：B222.5

【参考文献】