『左傳』 ‘季札觀周樂’條에 대한 考察－詩에 대한 인식을 중심으로－

Abstract

In the record of the 29th year of Xiang Gong in Zuo Zhuan, there is a scene in which Ji-zha, a prince from Wu came to Lu to appreciate and evaluate Zhou Le, ‘Zhou's music.’ As Zhou Le is a kind of music that sings and performs poems in Shi Jing, the evaluation of Zhou Le means the evaluation of poetry. Given that evaluation of something is carried out on the basis of some particular recognition of it, we can see Ji-zha’s recognition of poetry with his evaluation of Zhou Le. This article examine what recognition of poetry Ji-zha had, in terms of an analysis of the part of ‘Ji-zha Guan Zhou Le (Gyechal appreciates Zhou Le)’ in Zuo Zhuan. We can consider Ji-zha’s recognition of poetry with respect to the following two points. First, he paid attention to the interrelation between poetry and politics. He not only noticed the strengths and weaknesses of the history, culture, and dispositions of a country in terms of music including poems, but also further predicted even its future fate. Ji-zha’s such recognition of poetry is in tandem with Confusius’ saying about poetry ‘Ka Yi Guan,’ has the same way with the Confucian recognition of poetry that poems reflects a country’s political situation. Second, Ji-zha noticed the interrelationship between poetry and temper. When evaluating a poem, Ji-zha readily used expressions in formats like ‘A而B (A then B)’ or ‘A而不B (A but not B).’ The format of ‘A而B’ is an expression that two properties in a conflicting or tensional relation harmoniously co-exist, while that of ‘A而不B’ means that there is a universal or positive property but there is no negative tendency due to it. That is to say, this is an expression of admiring a poet, who has r tensd the state of Zhong He ‘equability’, and is in tandem with Confusius’ statement about Guan Juand樂而不淫 哀而不傷 (enjoyable but not lewd, sad but not hurting).’ The recognition of the interrelationship between poetry and politics later becr tenhe basis for the consciousness that one could understand the politic conditions of a country in terms of music and songs, while that of the interrelationship between poetry and temper developed into China’s traditional way of thinking that was oriented toward the Chinese value in understanding humans and the world. Ji-zha’s such recognition of poetry, interested in poems’ function of enlightenment, is in tandem with the Confucian recognition of poetry that originated from Shu Jing and further was succeeded by Confusius. From this, we can give the part of ‘Ji-zha Guan Zhou Le’ some significance to the effect that it was not only the first criticism of music in China, but also a record that played the role of a bridge to Confucian recognition of poetry.