摘要
《左氏春秋》在三方面启发荀子（《乐论》）。首先，音乐贵平和。《左传》叙述以和为名的良医类比音乐与医药，晏婴主张调和五声令人心平德和；泠州鸠提出“和声”入耳藏心，反对乐音过度强弱。荀子亦重和亲、和敬、和顺。其次，音乐产生伦理政治效益。晋侯力言音乐稳定德性，士强调“乐和”则可用。荀子洞察音乐中平可使人民谐协。第三，音乐披露国家境况，如吴国公子季札从《郑风》侧重男女琐事而正确预测郑国将亡。荀子主张“和乐而不流”，以“流”形容郑国音乐式的淫荡。
In three aspects the Zuo Zhuan influence d Xun Zi's theory of music. First, music's supreme quality is peace and harmony. An excellent doctor by the name of 'harmony' compared music to medicine. Yan Ying advocated the harmonization of the five tones to maintain heart's peace and balance, Ling Zhou-jiu valued 'melody' to be able to enter human ears and dwell in human hearts, with opposition to excessively strong or weak tones. Xun Zi also cherished harmonious affinity, respect, and amiability. Secondly, music produces ethical and political efficacy. The Marquis of Jin stressed that music stabilized virtues, Shi Wei emphasized that harmonious music rendered people harmonious. Thirdly, music disclosed national situations. For instance, the Prince Ji-ja of Wu correctly predicted the fall of State Zheng from the overstress of petty sexual affairs in 'the Folk Songs of Zheng'. Hence Xun Zi chose the word 'flowing' in his maxim 'harmonious, merry but not flowing' to describe the Zheng-style lustfulness.
出处
《五邑大学学报（社会科学版）》
2002年第1期6-9,共4页
Journal of Wuyi University(Social Sciences Edition)
