孔颖达论诗、乐关系及其诗学史意义

Kong Yingda′s Commentary on the Relationship Between Poetry and Music and Its Significance in the History of Poetics

诗、乐关系是诗经学史上的一个根本问题,从汉儒的弃乐言诗,到宋代郑樵的以乐论诗,再到南宋以来的以诗统乐,这种转变离不开唐代孔颖达的先导之功。作为经学史上集中论述诗乐关系的第一人,孔颖达通过“诗乐相将”“诗为乐心”诸说化解了先秦季札观乐与汉儒以义说诗之间的矛盾,促进了汉代义理诗经学的流行,启发了宋代以来的诗乐话题,奠定了后世学者以诗统乐的诗学理路。后世学者既要顾及《诗经》的乐歌性质,又要防范一种彻底的“主声”之学危害“思无邪”的正旨,往往就要通过反思郑樵的声歌诗经学从而回到孔颖达的诗乐学说。

The relationship between poetry and music is a fundamental issue in the history of poetics.From the abandonment of poetry by Han Confucians to the discussion of poetry by music by Zheng Qiao in the Song dynasty,to the unification of poetry with music by poetry since the Southern Song dynasty,this shift could not have been achieved without the pioneering work of Kong Yingda in the Tang dynasty.As the first person to focus on the relationship between poetry and music in the history of scripture,Kong Yingda resolved the contradictions between the pre-Qin Jizha′s view of music and the Han Confucian′s statement of poetry in terms of righteousness by saying that"poetry and music are in harmony"and"poetry is the heart of music",which contributed to the popularity of the philosophical connotations of poetry in Han Dynasty and inspired the discussion of poetry and music in the Song Dynasty.It also laid the groundwork for later scholars to"unify music with poetry"in poetics.It is by reflecting on Zheng Qiao′s poetics of sound and song that later scholars returned to Kong Yingda′s doctrine of poetry and music,while taking into account the nature of the poetry and song of the poetry and guarding against the infringement of poetic teaching by a thoroughgoing"advocating music theory"dimension.