依納爵主教的音樂語彙與對神聖的描繪與再現

The Musical Language/Metaphor in the Epistles of Ignatius of Antioch and Its Representation of the Divine

張毅民(Paulus Iee-Ming Chang)

安提約基雅的依納爵 ； 音樂語彙 ； 比喻 ； 殉道 ； 基督徒合一 ； 降生奧蹟 ； 神聖性 ； Ignatius of Antioch ； Musical Language ； Musical Metaphors ； Martyrdom ； Christian Unity ； the Mystery of the Incarnation ； Representation of the Divine

哲學與文化

41卷10期（2014 / 10 / 01）

109 - 130

繁體中文

本文主要是在分析安提約基雅的依納爵主教書信中，如何使用音樂語彙與比喻來呈現他對於基督信仰中神聖事物的思想。作者指出，依納爵的音樂語彙主要用在論述三個神聖的主題上：基督徒的團結合一、殉道、以及降生奧蹟。藉著音樂語彙與比喻，依納爵喚醒讀者（聽眾）自己的宗教經驗，與他共同分享面對神聖事物的經驗，並進一步引導出讀者自己對基督真理的深切皈依。作者也指出「靜默」在依納爵的音樂語彙中亦扮演極重要的角色，不僅因為靜默（休止符）是音樂重要的一部份「靜謐之音」與「寂默」其本身更具有神聖性。

The purpose of this paper is to analyze the musical languages/metaphors used by St. Ignatius of Antioch in his epistles, and how he uses them as the representation of the Divine. The author of this paper points out that St. Ignatius uses musical languages/metaphors on the following three topics which are sublime and sacred to him: Christian unity, martyrdom, and the Mystery of the Incarnation. By using musical metaphors, St. Ignatius not only awakes his readers' (or, listeners') own religious experiences but also invites them into his own experience of encountering the Divine with him on the way to the martyrdom; and, by doing so, to lead his readers/listeners to a deeper conversion to the Truth. This author also argues the importance of ＂silence＂ in Ignatius' musical language/metaphor, not only because silence (or pause) is an integral part to a melody/music, but also because silence itself is divine to St. Ignatius.

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1. 張毅民(2015)。安提約基雅依納爵書信中的受苦與希望。哲學與文化，42(1)，5-29。
2. 張毅民(2019)。聖歌本與宗教認同：《撒羅滿讚歌》（Odes of Solomon）中以色列信仰傳統的延續與斷裂。臺灣宗教研究，18(2)，133-186。