嵇康〈聲無哀樂論〉探究──兼解牟宗三疏

Inquiry into Chi Kang's On the Feelingless of Sound--A Comment on Prof. Mou Tsung-san's Exposition

本文嘗試較周延地解讀〈聲無哀樂論〉，並對照考察牟宗三先生所作的相關疏解，嘗試揭露嵇康論證「聲無哀樂」隱含的推論結構的可能樣型，並從而探究他作的對應（秦客）觀點之檢討，以及他陳論的三大重要看法︰（i）「和比說」；（ii）「音樂的獨立客觀性」；（iii）「移風易俗」觀，以釐清其中的觀念糾纏。最後概述嵇康的音樂觀，說明〈聲無哀樂論〉有關「音樂功能」的看法固然與〈樂記〉等樂論的音樂功能觀有其不同之見解，然亦有其共通之關懷處，並稍及「嘉樂」和「妙樂」之判準的討論，以歸結兩肇的音樂觀各異其趣，而有待進一步的美學探究。

In this paper, first, I try to reinterpret Chi Kang's On the Feelingless of Sound in contrast to Profession Mou Tsung-san's expositions, and disclose the possible patterns of the arguments in Chi Kang's treatise, second, to explore and reveal Chi Kang's main viewpoints: (i) the doctrine of Ho-bi (和比說)；(ii) the objective uniqueness of music; (iii) the conception of altering the social customs and fashions, third, to compare On the Feelingless of Sound with/to Yo Chi (〈樂記〉), in order to explain the ways in which the conception of functions of music have changed.