〈樂記〉「物感」美學的理論建構及其價值意義

The Theoretical Construction of the Aesthetics of “Wu gan” and its Meaning in “Yue ji”

盱衡古典文藝理論中有關創作發生問題的探討，可說早在《禮記．樂記》的階段即首揭「其本在人心之感於物」的命題，在創作發生的思考上，擘劃了一條從內在心理根源以追溯文藝發生之因的思維理路，首次披露了有關文藝創作的發生規律，並富於邏輯關聯性地描繪了一幅「性靜／物感／情動／樂生」的生成脈絡，從而奠定了「物感」之說在文論體系中的價值與定位，成為後世探究文藝創生原因的先在理解或依循準式。有見於此，本文之作即著眼於〈樂記〉中有關創作發生問題的論述，試圖從其文本脈絡及理論觀點的考察中，梳理出其所表達的：音樂本源於「心」、本質為「情」、興發在「物」、「聲／情」互應的核心見解，並透過一個「邏輯秩序」的方法論意識，將之統合成一個邏輯推演一致的有機架構，用以揭示〈樂記〉對於「物感」美學的理論建構及其所蘊涵的價值意義。

After researching the generations of writings pertaining to classical literary theory, I came across a thesis on the origin of music proposed as early as in the “Yue ji” in the Book of Rites. It asserts that music originates when the heart feels touched by external objects. It was the first time a theory of how an artistic work is created was presented. It traced the origin back to the mind and heart. It was logically stated that the creative process followed this sequence: “Stillness of Mind/Moved by Objects/Emotional Affection/Generation of Music.” This theory became a common starting point for future studies of how an artistic piece originates. This study focuses on the discussions on the creative process in “Yue ji,” and therefore attempts to clarify its main theme: music originates from the “mind,” “emotion” is its essence, and it is inspired by “objects.” The sounds and emotions echo and influence one another. I investigate the original book and its theoretical points with a view of logical order to reveal the theoretical structure of the aesthetics of “Wu gan” in “Yue ji” and its implications.