反思“禮”觀念：論儒家之“禮”從“樂中禮”向“法中禮”轉變之意義

A Reflection on the Idea of "Rite": On the Confucian Idea of Rite Transforming from "Rite Inherent in Music" to "Law Inherent in Rite"

10.7065/MRPC.200810.0065

黃信二(Hsin-Er Huang)

禮之本 ； 樂中禮 ； 法中禮 ； 克己復禮 ； 禮樂 ； 禮法 ； 法禮 ； The Essence of Rite ； Rite Inhere in Music ； Rite Inhere in Law ； Subduing One's Self and Returning to Propriety ； Rites-Music Li-yue ； Rites-Law Li-fa ； Law-Rites Fa-li

哲學與文化

35卷10期（2008 / 10 / 01）

65 - 85

繁體中文

先秦儒法之爭，在政治上實乃「禮」與「法」之爭，本文作者提出「樂中禮」與「法中禮」兩個概念，分析了「禮樂」與「禮法」之差異；指出在「禮壞樂崩」的時代，為何孔子強調「仁」而非可得速效之「法」觀念。全文並分析了孔子抉擇以「仁」闡釋周「禮」的意義，其本質同於一位哲學家以何種智慧為一民族提出願景之問題。 作者首先說明「樂」在儒家的意義，其次再分析孔子所言之「立於禮，成於樂」，指出為何「樂」可為「禮」之基礎。作者又基於原初儒家之「樂」概念並不等於「音樂」的觀點申明題旨，以「樂」之意義除了與歌舞相關外，更是「道德之音」或「德音」的媒介，它在儒家儀禮中所傳播者不只是「言父子、君臣、長幼之道」等有關「禮」之精神，而更代表「禮之大者」；相對言，法家之「禮」則是「法中之禮」，是以「法」為價值之最高依據。根據此一區分，儒家與法家之「禮」即有極大的差異，在荀子思想中「禮」的地位仍是指導「法」者，但法家論「禮法」則以「法」統「禮」。全文透過從「樂中禮」向「法中禮」觀念移轉之意義分析，一方面揭示孔學之「仁」、「禮」與「樂」三觀念中一以貫之的精神；另一方面，透過對「禮之本」觀念的解析，使吾人對儒家之「禮」的理解能立足於「樂」觀念之背景中，以期能避免「禮」之本質滑動為「法」觀念，進而理解孔子所言「興於詩，立於禮，成於樂」的儒家整體思維之氣象。

The dispute between ”Confucianism” and ”Legalism” in the pre-Qin period was actually a struggle between ”rite” and ”law. ”The writer now proposes two concepts, ”music (yue) inherent in rite (li)” and ”law inherent rite” and analyzes the differences between ”rite-music” and ”rite-law;” he also points out why Confucius focused on rather the idea of ”kindness (jen)” than the rapidly effective idea of ”law” in an era when rite and music were collapsing. Here we also analyze the meaning of Confucius choosing to interpret the meaning of the Zhou ”rite” in the light of kindness (jen), which is in essence just like a philosopher choosing a certain kind of wisdom to propose visions for a people. First, the writer explains the meaning of music (yue) in Confucianism; and then he analyzes some of Confucius's sayings-”It is by the Rules of Propriety (Rite) that the character is established,” and ”it is from Music that the finish is received”-pointing out why music (yue) can be the foundation of rite. Furthermore, based on the fact that the original concept of ”yue” in Confucianism was not equivalent to ”music,” the writer demonstrates his theme: other than being related to singing and dancing, ”yue” is also the medium of the ”voice of morality”; in the Confucian ceremony and propriety, ”yue” not only disseminates the spirit of ”rite”-such as ”the way of the father and the son, the ruler and the liegeman as well as the old and the young”-but also represents the ”importance of rite.” In contrast, the ”legalistic rite” is ”rite inherent in law,” taking ”law” as the supreme value. Based on such a distinction, the Confucian rite and the Legalistic rite are extremely different. According to Xun Zi's philosophy, ”rite” is still the guide of ”law,” and yet for a legalist, ”rite-law” is to dominate rite with law.” Through analyzing the meaning of the transformation from ”music inherent in rite” to ”law inherent in rite,” this paper reveals the coherent spirit of the three Confucian concepts, kindness, rite and music on the one hand; on the other hand, analyzing the concept, ”the essence of rite,” we make one's understanding about the Confucian ”rite” based on the background of the concept of ”music (yue),” in wishes to prevent the essence of ”rite” from gradually transforming into the idea of ”law” and, furthermore, understand the overall Confucian thinking of Confucius's sayings: ”It is by the Odes that the mind is aroused. It is by the Rules of Propriety (Rite) that the character is established. It is from Music that the finish is received.”

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