嵇康〈琴賦〉中以樂體道之義涵探析——兼論與〈聲無哀樂論〉的互補關係

On the Meaning of Yiyüetidao in Ji Kang's “Qinfu” and How It Complements “Shengwu-aile-lun”

本文採〈聲論〉與〈琴賦〉互參並觀的方式來重新解讀〈琴賦〉，以充分體現〈琴賦〉在嵇康音樂論述上的角色。有別於〈聲論〉反覆開展聲情異軌的訴求，〈琴賦〉則以賦體譬喻鋪陳的形式，聚焦在躁靜氣應下的麗質殊構，並突顯「至人」的參贊與存在，使人與琴得以在氣聲相應下共契莊子的理境，因此必須廓清「危苦幹材」、「悲哀垂涕」之舊說，開啟「以和為美」、「以樂體道」的論述向度，才能讓〈琴賦〉由楚騷抒情寫志之作走向莊子的至人之歌。
有別於〈聲論〉關注於聽者，〈琴賦〉照應制琴者、彈奏者、聆樂者三個面向，尤側重主體奏樂、聆樂以發顯心志的狀態，使「心志」不僅扮演從「哀樂」至「躁靜」之歷程性的中介角色，亦顯示著體道者風格化的差異。惟〈聲論〉與〈琴賦〉兩者固然文體有別，風格迥異，但仍必須立基於「聲無哀樂」的共法，才能發展出以聲為道的音樂思想，進而在理論與實踐上充分發揮相互補充、雙美並進的妙用。
最後本文將之統合於「抒情可轉、至人可擬」的理解新向度，希望透過「宣和情志」與「導養神氣」之歷程性與動態性的考察，使嵇康的音樂思想得以延展拓深至文藝觀與人生論的層次，從而揭示其在中古文化史上更為關鍵性的角色。

This article reexamines qinfu by contrasting it with shengluen in order to fully understand the role that qinfu plays in Ji Kang’s music discourse. Different from shengluen, which repeatedly appeals to the disparity between sheng and qing, qinfu uses futi (poetic prose style) as a metaphor for the delivery of its thought. It focuses on the special structure arising from a response to disturbed quietude and qi emergence, thus stressing the existence of zhiren (perfect human). As such, the intermingling of qing and qisheng matches Zhuan Zhi's thinking. Therefore, it is necessary to clarify previous discourse surrounding weikuganzai and beiaichuiti and adopt new perspectives involing yiheweimei and yiyüetidao, thus lifting “Qinfu” from a lyrical work to a song composition of zhiren.
In contrast with shengluen, which emphasizes the listener, qinfu pays attention to the producer of the qin, the player, and the listener, with emphasis on the player and the listener. This shift enables xinzhi to mediate between aile (sorrow and joy) and zaojing (disturbed quietude), thus stressing the stylizing of the person experiencing dao. Although shengluen and qinfu differ in style, they both need to be grounded on sheng-wu-ai-le in order for a stream of thinking based on sheng (sound) to develop and to complement each other in theory and practice.
This study will propose a new perspective incorporating shuqing kezhuan and zhiren kening with the aim to extend Ji Kang’s discourse on music to the realm of arts and life. By so doing, the analysis lays bare the critical role it plays in history.