樂經律呂通解卷之一

樂經律呂通解卷之一

（清）汪烜

 [1883]。

樂記（分二十一章）

附或問二十二條

 

樂經律呂通解卷之一

婺源汪烜燦人輯

《樂記》

Record of music

James Legge

〶

孔氏曰。劉向校書。得樂記二十三篇。今取十一篇合爲一篇。曰樂本。曰樂禮。曰樂論。曰樂施。曰樂言。曰師乙。餘十二篇其名猶存。曰奏樂。曰樂器。曰樂作。曰意始。曰樂穆。曰説律。曰季扎。曰樂道。曰樂義。曰招本。曰招頌。曰竇公。草廬吳氏曰。禮經惟儀禮僅存。而樂經則亡。其經疑多是聲音樂舞之節。少有辭句可讀可記。故秦火之後無傳。諸儒不過能言樂之義耳。漢初制氏。頗能記其鏗鏘鼓舞。至劉向所得樂記二十三篇。則又與河間獻王所撰二十四卷不同。其所取十一篇合爲一篇者。蓋亦删取要略。非全文也。其餘十二篇。及獻王之樂經。則孔氏作疏時。其書已冺絕矣。愚按鄭本十一篇目次。既與今本不合。而史記樂書次序。又與鄭本不同。吳草廬更定次序。實未見其必然。竊謂樂記一書。前後文雖不屬。而脈絡通貫。止是一篇文字。至若樂本樂論等篇名。大抵漢儒所題章目。如孝經開宗明義等章名之類耳。未必其本然也。今祇依孔疏本次序。而分爲二十一章如左。

凡音之起，由人心生也。人心之動，物使之然也。感於物而動，故形於聲。聲相應，故生變；變成方，謂之音；比音而樂之，及干戚羽旄，謂之樂。

Δ

比。必二反。而樂之樂。音洛○音。統聲樂言也。心者。人之神明。寂然不動。感而遂通者也。心不自動。必有物以感之而後動。聲即心之所發。應。應所感之物也。變。如下文所云也。方。猶曲也。長言而有序。曲折而抑揚也。音。以人聲言。比。合也。八音。金。石。絲。竹。匏。土。革。木。樂之。猶言和之。干戚。武舞。羽旄。文舞也。音由心生。心以物動。物感而聲。應。物之感無方。而聲之應亦以生變。言之不足。而長言之。長言之不足。故嗟歎之。嗟歎之不足。則不知足之蹈之。手之舞之。於是和以八音。舞以干羽。此一節言樂之所由生。由人心之有所感也。//

All the modulations of the voice arise from the mind, and the various affections of the mind are produced by things (external to it). The affections thus produced are manifested in the sounds that are uttered. Changes are produced by the way in which those sounds respond to one another; and those changes constitute what we call the modulations of the voice. The combination' of those modulated sounds, so as to give pleasure, and the (direction in harmony with them of the) shields and axes, and of the plumes and ox-tails, constitutes what we call music.

 

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樂者，音之所由生也；其本在人心之感於物也。是故其哀心感者，其聲噍以殺。其樂心感者，其聲嘽以緩。其喜心感者，其聲發以散。其怒心感者，其聲粗以厲。其敬心感者，其聲直以廉。其愛心感者，其聲和以柔。六者，非性也，感於物而後動。

Δ

嚇青滌殺色介反樂音洛暉昌展反 C 嚥佔竭之意殺先畫 m 提搬

出囉開大也緩奸徐也概暴囑還也廉稜角也聲離而成方然徒此

音而樂之及 T 戚羽達是樂生於音也音由人心之惑物而觔是其本在人心之感於物也心之惑於物者有哀樂喜怒敬愛之殊而聲

之變以成方者亦有嚥繳暉緩發散組厲直原和柔之異蓋人之心革處至靈統性情以偉體用方其寂然不動也未發之中不偏不倚

則哀樂喜怒敵愛之理具備而實無裒樂喜怒敬愛之可言所謂性也及其感而達通也則隨所感而聲應之所感有失得版逆尊

視之興則所發亦隨為哀樂喜怒教釁之情是六者之情則感於物而復動者也此節拿上文而言情之所感不同而聲隨以變也

 

Music is (thus) the production of the modulations of the voice, and its source is in the affections of the mind as it is influenced by (external) things. When the mind is moved to sorrow, the sound is sharp and fading away; when it is moved to pleasure, the sound is slow and gentle; when it is moved to joy, the sound is exclamatory and soon disappears; when it is moved to anger, the sound is coarse and fierce; when it is moved to reverence, the sound is straightforward, with an indication of humility; when it is moved to love, the sound is harmonious and soft. These six peculiarities of sound are not natural'; they indicate the impressions produced by (external) things.

 

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是故先王慎所以感之者。故禮以道其志，樂以和其聲，政以一其行，刑以防其姦。禮樂刑政，其極一也；所以同民心而出治道也。

Δ

道其之道音導行去聲 O 性情之德人所同然然物之所慼者維投而心之飲無以自主則砍動情騰而性情

之正以失故所以感之者不可不縝也是故先王慎所以感之者道其志使一出於正也和其整使不惑放邪

也禮樂者針民之主而政刑者為治之輸要皆慎所戳惑之

者所以間足心使無央其性情之正而已故曰其極－也

On this account the ancient kings were watchful in regard to the things by which the mind was affected. And so (they instituted) ceremonies to direct men's aims aright; music to give harmony to their voices; laws to unify their conduct; and punishments to guard against their tendencies to evil. The end to which ceremonies, music, punishments, and laws conduct is one; they are the instruments by which the minds of the people are assimilated, and good order in government is made to appear.

 

右第一章

此章言樂之本由人心之威於物而先王制禮作樂 Alj 以慎所成而同民心也自此以

下六章皆反復申明此章之意

 

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凡音者，生人心者也。情動於中，故形於聲。聲成文，謂之音。是故治世之音安以樂，其政和。亂世之音怨以怒，其政乖。亡國之音哀以思，其民困。聲音之道，與政通矣。

Δ

心感於物而觔為情情見乎辭為聲聲成女而為青故卜之

所感不同而馬俗歌論之音以異鬱之治以政之和也貴之

9

All modulations of the voice spring from the minds of men. When the feelings are moved within, they are manifested in the sounds of the voice; and when those sounds are combined so as to form compositions, we have what are called airs. Hence, the airs of an age of good order indicate composure and enjoyment. The airs of an age of disorder indicate dissatisfaction and anger, and its government is perversely bad. The airs of a state going to ruin are expressive of sorrow and (troubled) thought. There is an interaction between the words and airs (of the people) and the character of their government.