「盡美矣，又盡善也」：季札與孔子的詩樂論

Being Perfect: Ji Zha and Confucius' Theory of Poetry-Music

季札與孔子的時代既近，緣分亦深，他和孔子一樣嫻於外交，見微知著，通達政事，重禮守節，同尊讓德。這樣的關係，當然還是外部因素，不見得思想便會相契。但季札與孔子，在春秋審美意識上，恐怕不是外部的因素，而是相當內部的有機關連。本文所以聚焦於季札與孔子，乃是發現兩者在詩樂審美上，對中國古典美學產生了深刻的影響，透過藝術與道德的會通，可以昭揭「美」、「善」義涵的深化與轉變。加諸理論發生的機緣，及其成立的理由未必相同，只有對季札詩樂論的層次，繼續做出探討，我們才能真正深入孔子思想世界的堂廡，從而凸顯孔子於主體實踐上的積極性。

"Ji Zha and Confucius lived in the same era. They were both diplomats, knowledgeable, and courteous. Such a relationship is certainly an external factor, which does not necessarily indicate that the ideas would be in sync. However, in terms of the aesthetic consciousness of the Spring and Autumn Period, they both shared same views internally. The goal of this study on Ji Zha and Confucius is to explore the fact that their views of poetry-music have a profound impact on Chinese classical aesthetics. Via the link between art and morality, the connotation of 'beauty' and 'goodness,' intensified and transformed, can be revealed. The theory was established with varied factors and chances, but we could manage to grasp the philosophy of Confucius in seeking subjectivity positively as we keep examining Ji Zha’s theory of Poetry-Music. "