【作者】 刘延福；

【导师】 李衍柱；

【作者基本信息】 山东师范大学 ， 文艺学， 2010， 博士

【摘要】 在中国古代思想史、文学史上,荀子无疑是一位大师级的人物。作为其学术思想的一部分,他的诗乐理论与实践活动在中国古代文学及文论史中占有重要的地位。然而,由于长期受到尊孟抑荀思想的影响,学界对荀子诗乐思想及实践的研究远远落后于同为儒家的孔子、孟子,这是与荀子的学术地位极其不符的。本文从荀学的基本原则——“天生人成”的哲学基础入手,通过新的视角与方法,利用新出土的郭店及上博楚简等材料,以荀子“天生人成”的哲学思想为线索,把荀子的诗乐思想纳入整个荀学的体系当中来研究,从荀子的哲学、美学、伦理学、逻辑学等方面对荀子诗乐发生与创作论、诗乐的审美理想论、诗乐的功用说以及其诗乐理论的实践活动——他的《成相》与《赋》两篇文学作品、他的引《诗》理论等核心内容进行了逐层梳理与深入阐释,探讨了荀子诗乐理论与实践问题的内容与特质,最后对荀子诗乐思想的理论特色做一总结。全文分为上、中、下三篇共八章的内容,后附有余论:上篇共分为三章,是对荀子诗乐理论与实践的“前问题”研究,主要介绍了荀子诗乐理论与实践产生的背景及理论渊源、哲学基础:第一章主要是对荀子的生平及《荀子》一书的考证。文章认为,荀子故里应为今山西安泽一带,而非李泽厚、叶朗等人所说的临猗;他被称为“孙卿”既非是避讳改称,亦非由于两姓并称,而是因为音同语异的缘故;在他一生中,他五十岁而非十五岁游学于齐,先后入秦、游学于齐、初为兰陵令、议兵于赵孝成王前,最后著书立说、客死兰陵;战国时期特定的经济、政治及百家争鸣学术环境造就了荀子特殊的学术性格,荀子的性恶论等理论学说是特定历史时期的产物;他以孔子、子弓为师,对诸子百家均有所借鉴与吸收;《荀子》一书除了少数几篇外,绝大多数为荀子所作,是研究荀子思想的主要材料,《礼记·乐记》是对《荀子·乐论》的继承与发展。第二章从荀子的思想入手,考察了荀子诗乐理论产生的理论渊源。荀子集先秦诸子百家诗乐思想的之大成,他吸收了《尚书》、《周礼》、《左传》、《国语》等先秦典籍的诗乐理论,同时也对孔子、孟子等先秦儒家及以老、庄为代表的道家、墨子为代表的墨家、以商鞅为代笔的法家的诗乐观亦有所批判与吸收。郭店楚简及上博竹简与荀子及荀学有着千丝万缕的联系,楚简中有关诗乐的情感特质的理论是荀子诗乐思想的直接来源。第三章论述了荀子诗乐理论与实践的哲学基础。“天生人成”是荀学的基本原则。“天生”是说天只有化育万物的本能,“人成”是说人类一切的优秀文化成果,包括诗乐在内,都不是上天赐予的,而是人为的努力——“伪”的结果。荀子用老子“无意志的天”的观点,来改正儒家、墨家的“赏善罚恶”有意志的迷信观点,但克服了道家“蔽于天而不知人”的观点,将人的能动性从道家冥想自然、崇拜自然、自然无为的思想中解放出来,提出了“天人之分”的自然主义的天道观;在此基础上,荀子非常重视人的能动作用、重视礼义之统等“人道”。荀子由自然之天的观点,认为人性是天生的、自然的,他的性恶说的实质是“性朴”论;荀子从社会面向论述善、恶,希望通过“以心治性”的方式来“化性起伪”;“人文化成”思想是荀学的理论旨归,荀子的诗乐观与他的礼学思想是实现其“人文化成”思想的根本途径。荀子的这一强烈的人文主义思想,将周初所孕育的人文精神发挥到了极致,同时也为荀子的诗乐观奠定了基础。中篇分为三章,主要阐述了荀子诗乐理论的主要内容,包括荀子论诗乐创作、诗乐的审美理想及诗乐的功用理论等:第四章主要对荀子诗乐思想的发生及创作理论做了阐述。在论述诗乐的发生时,荀子从人性、人情角度解释诗乐的发生意义,将情感看成诗乐艺术产生的本源,为艺术的发生找到了合理的归宿;在诗乐创作上,荀子以“征圣”、“明道”、“宗经”为基本原则,这一思想是后世“文以明道”、“文以载道”思想的萌芽,奠定了中国传统的文学观;荀子提出的诸如情、理(礼)相结合的认识论、“虚壹而静”的“大清明”的思想及“声乐之象”的乐象论,直接指涉艺术创作的思维过程;荀子提出并论述了“情文俱尽”、“称情而立文”的情文观,及“文而致实”、“成文而类”的语言观,在中国诗学史及艺术史上具有开拓意义与价值,是中国文学批评史上探讨“情”、“文”关系的先河。第五章着重论述了荀子的诗乐审美理想论。荀子继承并发展了孔子、孟子及《左传》等关于“中和”的理论,赋予“中”以特定的内容——礼义之道,同时又将“和”看作是诗乐的特质,明确地提出了“中和”之美的审美理想论,对汉以后“温柔敦厚”及“发乎情,止乎礼义”的诗教传统产生了重要影响;荀子吸取了前人关于真、善、美的思想并加以发挥,提出了“美善相乐”、“不全不粹之不足以为美”的真、善、美统一的观点。第六章从礼与乐的关系入手,探讨了荀子诗乐观的功用境界说。“乐合同,礼别异”、“恭敬,礼也;调和,乐也”,荀子将礼与乐的不同特点及作用作了区分,从礼、乐互补的角度提出了诗乐的功用。他认为,礼体现出一种强制性原则,是“分”、“别”;诗乐的特质是“和”,体现出柔性原则,故而能够弥补礼的不足。他从实用主义的角度出发,认为诗乐在改造人情、休养心性及社会、国家的安定团结方面发挥着巨大的作用。下篇分为两章,主要研究荀子在其诗乐理论指导下所进行的实践活动,包括他的文学创作及以引诗为主要内容的经典诠释活动。第七章主要阐述了荀子在其诗乐思想的指导下所进行的文学创作——《成相》与《赋》。《成相》以阐释荀子的礼法、礼乐思想为主要目的,为中国说唱文学之祖,在文体学上具有开创意义;《成相》的文体对乐府民歌、唐代“变文”与宋话本、唐宋诗词等产生了深远的影响;《赋》是中国第一篇以“赋”命名的文学作品,刘勰认为它是“别诗之原始,命赋之厥初”,因而荀赋有宗师的意味。荀赋咏物说理、“遂客主以首引”、“极声貌以穷文”的写作特点对汉赋影响深远。《成相》及《赋》的理论特色,充分体现出了荀子所倡导的“中和”之美及“不全不粹之不足以为美”的真、善、美统一的审美理想论。第八章重点论述了《荀子》引《诗》现象,重点阐述了荀子的经典诠释理论。荀子继承了儒家“述而不作”的思想传统,对经典的传授产生了巨大的影响,是连系先秦学术与汉代经学的关键;引诗活动蕴含着“六经注我、我注六经”的过程,是经典诠释理论的重要组成部分;荀子引《诗》意在“以诗证理”,带有很强的目的性与实用性,在此基础上的经典诠释活动也具有强烈的实践性品格。余论部分是对全文的总结。荀子认为“天”与“性”皆是负面的、被治的,因而唯有依靠外在的礼义之统以“化性起伪”,通过礼、乐等“人文”以化成天下,包括他的诗乐思想在内的他的一切理论学说,最终目的都指向于实践应用这一目的。荀子重诗乐的社会实践品格,这既是儒学传统的特点,也是荀学的特点。更多还原

【Abstract】 In the history of ancient Chinese theory and literary, Xunzi is undoubtedly a master of character. As part of his academic thought, his theory and practice about poetry and music occupies an important position in ancient Chinese literature and literary theory. However, because of the long-term effects by the ideological trend of respecting Mencius and crying down Xunzi, the research of Xunzi’s theory and practice of poetry and music lags far behind with Confucius and Mencius. Based on the study on Xunzi’s basic principles of“Born in Heaven, Completed by Man”, this paper analyzes Xunzi’s poetry and music creation theory, aesthetic ideal theory, function theory as well as his literary works including Cheng Xiang , Fu and quoting Odes. In addition, the paper investigates the contents and characteristics of Xunzi’s theory and practice about poetry and music. Finally, the paper gives a summary of it.The dissertation is divided into there parts which including eight chapters and a conclusion:The background, theory origin and philosophical foundation of Xunzi’s theory and practice about poetry and music are discussed in the upper part,:A textual research about Xunzi’s life and his works is made in Chapter One. We think that the hometown of Xunzi is not Linyi but Anze. He was called Sun Qing because of Xun and Sun have the same pronunciation in the past. When he was fifty years old, Xunzi started his study tour in the country of Qi. He came to Qin, studied in Qi, and later was given an administrative post by the southern state of Chu. Then he talked about military with Xiaocheng, the king of Zhao. Then he Finished his book and died in Lanling county. His theory is born in the special economic, political and academic environments in Warring States Period. Xun Zi’s theory about "human nature is evil" is the product of a specific historical period. He is an integrator of the pre-Qin theory. Xunzi is his own work except several chapters and Yueji plagiarized Xunzi’s Yuelun.Chapter two discussed the theory origin of Xunzi’s theory and practice about poetry and music. Xunzi absorbed the theory of poetry and music in Shangshu, Zhouli, Zuozhuan and Guoyu and other books. He absorbed beneficial thoughts from the school of Confucian, Taoism, Mohism and legalism. Guodian bamboo slips and Shanghai Museum bamboo slips are the direct source of Xunzis’s poetry and music theory.Chapter three discusses the philosophical foundation of Xunzi’s theory and practice about poetry and music. The idea "born in heaven, completed by man" is Xunzi’s basic principle. "Born in heaven" says that the heaven is only the genesis of everything, "completed by man" says that all the cultural achievements of mankind are not God-given, but people - the "artifice"伪results. Xunzi used Laozi’s point of view "the heaven without will" to correct Confucianism and Mohist’s "dominated heaven", and overcame the Taoist "shelter in the heaven and I do not know man" theory. On this basis, Xunzi attaches great importance to people’s active role, paid much attention to the role of rituals and duty. The essence of his "human nature is evil" theory is that human nature is just innate and natural. He hopes that human can transform nature by their "hearts". Xunzi considers "nurturing of humanities" as the cause and the theoretical aim of poetry and music production.The middle part mainly analyzes the main contents of Xunzi’s poetry and music theory, including Xunzi’s poetry and music creation theory, aesthetic ideal theory and function theory:Chapter Four concentrates on the occurrence of Xunzi poetry and music creative theory. Xunzi explained the occurrence of poetry and music from the perspective of human nature and human emotion. He thought that emotion is the source of poetry and music. In poetry and music creation theory, Xunzi puts forward the principle of "Demonstrating Tao", "Ancestor Scripture", "Revering the Classics".This theory is the first voice of "Demonstrating Ideal through Writing" in the history of Chinese literary criticism. From the thoughts of combining affection and reason, the "empty, unity and silence" theory and "the musical image" theory, Xunzi described the thinking process of writing systematically. Xunzi’s theory of "Emotion and language" and "write according to emotion" are the beginning of talking about "emotion" and "language " in Chinese literary criticism.The fifth chapter expounds Xunzi’s aesthetic ideal about poetry and music. Xunzi inherited and developed the "Neutralization and Harmony " thoughts in Confucius, Mencius, and ZuoZhuan. He endowed "neutralization" with special contents, the way of rites and morality. Xunzi considered "Beauty of Neutralization and Harmony" as his aesthetic ideal, and it affects the tradition of "being gentle, kind, honest and sincere" and " beginning with affection, ending with and rites and morality " after Han Dynasty. Xunzi drew on previous ideas about the true, the good and the beautiful, proposed the point of view about " harmony in ritual and good " and " incomplete and not pure enough can not be called beauty " .Starting with the relationship between rites and music, chapter six concentrates on Xunzi’s theory about the function of poetry and music. Xunzi distinguished the different characteristics and functions between rites and music. He believed that a mandatory ritual embodies the principle of "division" and "difference", whereas music embodies harmonious spirits. From a pragmatic point of view, he thought that poetry and music play a huge role in transforming human nature, self-cultivation, national unity and social stability.The last part emphasizes Xunzi’s practical activities under the guidance of his poetry and music theory, including his works and Odes-quoting.The seventh chapter optimistics in two literary works of Xunzi. Cheng Xiang is the ancestor of Chinese talk and sing literature, it influenced Yuefu in the Han Dynasty, the Bianwen of Tang Dynasty, scripts for fiction of Song Dynasty, Tang-Song Ci and talk and sing literature deeply. In the history of Fu, Xunzi is the one who first naming Fu, and thus he is the master of it. He often used assumed dialogues to described one thing or stated his views. As ritual philosophy his Fu’s program, Xunzi used the techniques of narration in bold detail throughout his works and all of these influenced Han Fu deeply.Chapter eight focuses on the Xunzi’s Odes-quoting phenomenon. It expounds the theory of Xunzi’s annotation on Confucian classics. Xunzi inherited the tradition of " Narrating, Not Creating", and he is the key of connecting Confucian classics of the Han Dynasty with Pre-Qin academy. Odes-quoting phenomenon implicated the progress of "six books explain me and i explain six books". Xunzi’s purpose of quote Odes is "proving reason with Odes", so it has a strong purpose. Based on this theory, his classics annotation of events also has a strong practical character.The conclusion is the full text of the summary. Xunzi thought that heaven and human nature are negative, only the outer rites and morality can transform it. As a part of it, poetry and music play a great role in this transforming. So all of his theory are pointing to practical purposes. Pragmatism is the main characteristic of Xunzi’s theory.更多还原