孔子詩教的歷史淵源：試探周代禮官制度中的詩教

Abstract

孔子曾云「述而不作，信而好古」，明言其人對於傳統的尊崇與紹承之志。本文以此作為思考的起點，欲探究孔子詩教的歷史淵源。相關的文獻，以《周禮》所見最為完整，而這些文獻皆顯示了禮官在詩三百的傳授與傳播過程中扮演要角。因此，本文旨在綜理相關文獻，欲探討周代禮官制度底下詩三百的授受情況。本文內容與周代教育制度以及詩三百的流傳途徑息息相關。本文的研究成果可以作為對孔子詩教之歷史淵源的考察，也可以視為對中國詩教探本溯源的嘗試。 本文所稱的「詩教」，指的是古代以詩三百的相關篇章作為教本的教學活動。本文探究的焦點，包括了周代詩教得以成立的基礎、背景，以及它實施的情況、應用的功能，與具備的內涵特質。我們發現，詩文本的性質、詩文本的流傳途徑、詩文本的應用功能，是掌握詩教問題的重要線索，而本文的論述也圍繞著這三條彼此交縱的思路進行。 在前人研究的基礎之上，本文從周代禮官制度的相關文獻記載切入，針對「孔子詩教的歷史淵源」這個論題，提出如下的初步結論： （一） 詩三百是禮樂文明的產物，其內容關乎政教文化，是周代詩教的基礎。 （二） 周代詩教主要由禮官負責，其授受途徑有二──樂官詩教與國子詩教。 （三） 周代樂官詩教以服務典禮儀式的奏樂歌詩為主，樂「德」乃其核心精神。 （四） 周代國子詩教以「導廣顯德，以耀明其志」為綱領，意在培養貴族君子。 （五） 春秋時代「賦詩」、「引詩」的活動體現了周代詩教的功能與內涵特質。

Confucius once said “I transmit but do not innovate; I am truthful in what I say and devoted to antiquity”, a statement that clearly shows his respect for tradition and desire to transmit that tradition. Taking this as a starting point, this thesis will attempt to trace the historical origin of Confucius’ shijiao (詩教). Texts related to this endeavor, of which the Zhouli (周禮) is by far the most complete, unanimously point to the importance of the liguan （禮官）in the teaching and the transmission of the three works making up the Book of Odes. As such, in addition to reviewing the relevant materials, we will primarily be interested in looking at the transmission of the Book of Odes in the context of the Zhou era liguan. Thus our discussion is indelibly related to the educational system in place during the Zhou period and the routes of transmission used for the Book of Odes. The results of our research, it is hoped, will provide a review of the historical origins of Confucius’ shijiao and an attempt to trace the origins of traditional Chinese shijiao. In the context of this thesis, the term shijiao will refer to educational activities in ancient China making use of the works contained in the Book of Odes. The focus of our research will include the foundation and background on which shijiao of the Zhou period came into being, how it was implemented and its functions, and its contents. As the character of the poetic texts, the trajectories of their transmission, and their functional applications are important to an understanding of shijiao, our discussion will focus on these three strands and the interaction between them. Taking into account previous scholarship in this area, we look at materials describing the liguan system in place during the Zhou period and, with respect to the historical origins of Confucius’ shijiao, make the following conclusions: (1) The works of the Book of Odes, which form the basis of the shijiao of the Zhou period, are the product of a culture focused on rites and music and deal with politico-educational culture of the time. (2) The liguan were primarily responsible for the shijiao of the Zhou period, with transmission taking place along two trajectories, that of the yueguan (樂官) and that of the nobility (國子). (3) The shijiao of the yueguan was primarily concerned with the performance of music and recitations during rituals; as such, it revolved primarily around the concept of virtue. (4) The shijiao of the nobility was intended to cultivate noble leaders (君子); as such, it focused on encouraging and broadening virtue and instilling a sense of purpose. (5) The practice of reciting or referring to poems during the Spring and Autumn Period was a reflection of the function and character of the shijiao of the Zhou period.