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孟子"乐"与"射"的双重隐喻

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孟子乐喻中,金声玉振并非完全对应于奏乐的始终;"终条理"亦可理解为"已条理""既条理"."金石以动之",如同战场之号令,金石之音皆可看作是乐曲的起始,起到节度各音的作用.从我国古代乐器实际演奏过程考虑,后世所理解的"以玉声振扬金声"的观点并不恰当;古人始终在尽量避免镈钟类乐器产生混响,又何需玉音振扬金声.赵岐、俞樾等所认为的"振扬玉音终始如一"、以玉声振扬金声,并非乐师演奏时所追求的和谐之境,仅为经师诠释经典时的意义建构.由于金石的稳定性,孟子乐喻还涉及金石之品质,为众音之准则.金声玉振不仅隐喻孔子兼具圣人之全德,还隐喻孔子为后世之法则.孟子乐、射二喻中,不应将智、圣二分看待.《五行》篇与孟子的不同处,还在于孟子以金玉喻始终条理,兼具圣智;而《五行》篇以金玉喻内外,又强调君子集大成,最终达到合内外的思想旨趣.
Mencius's Double Metaphor of Music and Archery
In Mencius's musical metaphors,the bells and chimes do not correspond to the beginning and end of the piece.The sound of bells and chimes starts the music,like a battle order,and plays a role of rhythmic signals for other instruments.Considering the actual performance process of ancient musical instruments in China,it is not correct to understand that the chime continues the sound of the bell.The ancients always tried to avoid the reverberation of the bell,so why do you need a chime to continue the sound.To continue the chime of the bell,it's not the pursuit of musicians but an imagination of scholars.Due to the stability of the bronze and stone,the metaphor of Mencius's music not only metaphorizes Confucius as a saint with all vir-tues,but also metaphorizes him as the law of later generations.The"Wu Xing"uses the bell and chime as a metaphor for the inside and outside,and finally achieves the ideological purpose of combining the inside and the outside.This is different from Mencius.

MenciusJin Sheng Yu ZhenWu Xingmetaphor

魏忠强

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燕山大学 马克思主义学院,河北 秦皇岛 066004

孟子 金声玉振 五行 隐喻

河北省社会科学发展一般课题

20220202475

2024

燕山大学学报(哲学社会科学版)
燕山大学

燕山大学学报(哲学社会科学版)

CHSSCD
影响因子:0.297
ISSN:1009-2692
年,卷(期):2024.25(2)
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