發表留言
寫筆記
信息通知
昇降排序
42.是可忍也,孰不可忍也第45課

本集課程重點包括:

一、認識季平子

      本章是孔子在評論季平子,也就是季孫意如。季平子在祭祀家廟時跳八佾舞,這是天子才能用的禮,孔子說他這種事情都做得出來,那什麼事情做不出來?這是見微知著,果然後來季平子跟魯昭公有嫌隙,雙方發生了戰鬥,導致昭公自魯國出走。

 

二、魯國為何會有八佾舞

      祭祀之禮表徵的是生者的身分,所以祭祀者是天子,才可以用屬於天子之禮的八佾舞。魯國因為開國國君周公,對周朝有非常大的功勞,所以周成王賜予魯君,可以用八佾舞來祭祀周公,但這卻成為魯國僭越禮制的源頭,季孫大夫專權時,竟然在家廟用八佾舞來祭祀魯桓公。

 

三、禮樂的發展要有本質

      禮也可以讓民族延續,禮也可以讓國家滅亡,季孫大夫就是濫用禮讓魯國加速滅亡。本章告訴我們禮樂的運用不能僭越,禮樂要以五倫為本質去發展各種美妙的作法,讓我們通達人際關係、上下相合、凝具共識,這樣的禮樂才是國家民族強盛的方法。

 

 

八佾篇第一章白話翻譯

【經文】

孔子謂季氏,八佾舞於庭。是可忍也,孰不可忍也。

 

【字詞解釋】

八佾:佾讀ㄧˋ,列也。八佾即八佾舞,是天子祭祀太廟的樂舞,以八人為一列,共八列,六十四人。諸侯六佾,四十八人。大夫四佾,三十二人。士二佾,十六人;另有古注認為六佾是六六三十六人,四佾為四四十六人,二佾為四人。祭禮必須以祭祀者的地位來行禮。

 

【白話解釋】

      孔子評論魯國卿大夫季孫氏僭用天子的禮樂。

 

解法一

      孔子評論魯大夫季平子說,季氏在他的家廟魯桓公廟庭中,使用了周天子八八六十四人的舞蹈行列來祭祀魯桓公。這種僭越天子禮樂的事情,他都忍心做,其他還有什麼事情他不忍心做?

 

解法二

      孔子評論魯大夫季平子說,季氏在他的家廟魯桓公廟庭中,使用了周天子八八六十四人的舞蹈行列來祭祀魯桓公,這種事是非禮越分的,而魯君以及當時在魯君身邊的大臣,看見季氏如此僭越禮制,都容忍得下去,不去過問,那還有什麼人、什麼事不能容忍。

 

【章旨】

      此章論魯卿季氏,僭用禮樂之事,必為魯國禍亂之源。

 

 

《論語講要》原文

      此章是孔子評論魯卿季孫氏僭用天子的禮樂。孔子說,季氏以八佾之舞,在他的家廟庭中舞之。「是可忍也。」這種事,季氏猶可忍心為之。「孰不可忍也。」他還有何事不可忍心為之。忍字,古注又作容忍講。魯國君臣看見季氏如此僭分,猶可容忍,還有何人何事不可容忍。

      八佾的佾字,音逸,馬融注:「佾,列也。」八佾舞,由舞者執羽而舞,以八人為一列,八列則八八六十四人。這是天子祭太廟所用的人數。邢昺疏說,天子所以八佾者,案春秋隱公五年左氏傳,公問執羽人數於眾仲,眾仲對曰:「天子用八,諸侯用六,大夫四,士二。夫舞所以節八音,而行八風。」左傳杜預注,公羊傳何休注,皆說,諸侯六佾,六六三十六人。大夫四佾,四四十六人。士二佾,二二為四人。邢疏又引服虔左傳解誼說,諸侯用六,為六八四十八人。大夫四,為四八三十二人。士二,為二八十六人。後儒以為,八音克諧,然後成樂,每列必須八人,當以服氏之說為允。

      馬融注:「魯以周公故,受王者禮樂,有八佾之舞。季桓子僭於其家廟舞之,故孔子譏之。」邢疏引禮記祭統,以及明堂位,解釋馬注。魯國是周天子封給周公之國,周公之子伯禽為魯君,周成王感念周公有勳勞於天下,故在周公歿後,賜之以重祭。命魯公世世祀周公以天子之禮樂。故魯君祭宗廟有八佾之舞。但天子之禮樂,只能在文王、周公廟用之,若用之於他廟,亦是僭禮。季氏是魯桓公的後裔,為魯國的卿大夫,他以為周公廟得用天子禮樂,故亦在其家廟中用之。此是嚴重的僭禮行為。馬注季氏為季桓子,劉氏正義等各注,據昭公二十五年左氏及公羊傳所記載,應當是季平子。又漢書劉向傳,謂季氏八佾舞於庭云云,卒逐昭公。是季氏即指平子。馬注所云家廟,當即指桓公廟。以公廟設於私家,故亦稱家廟。

      學儒必須敦倫盡分,始能希聖希賢。否則所學不實,於己於人,皆有害而無益。季氏僭禮,即是不能盡分,必為魯國禍亂之源。所以孔子嚴斥其非。

 

 

English

 

Teacher Tang Yuling will accompany you to read The Analects 

 

42.Book 3 Ba Yi, Chapter 1

 

Confucius said of the head of the Ji family, who had eight rows of pantomimes in his area, “If he can bear to do this, what may he not bear to do?”

 

Highlights of this lecture include:

1. About Ji Pingzi

  Ji Pingzi (季平子) is the posthumous title given to Jisun Yi-ru (季孫意如), head of the Jisun (季孫) clan and the chief minister of Lu. Confucius judged Ji Pingzi of his abuses of proprieties in ceremonial and music by allowing his posturers to perform the “ba-yi wu” or eight-row dance of the tian-zi (Zhou’s emperor) before Jisun’s clan ancestral temple. His acts were considered grossly violated the ritual propriety. Therefore, Confucius remarked that if the Jisun clan could dare to usurp royal rituals to this extent, to what extent would he not allow himself to go. A straw shows which way the wind blows. Later, enmity did arise between Ji Pingzi and Duke Zhao of Lu which ended up into a hostile fight. Duke Zhao lost and fled from the State of Lu.

 

2. The origin of eight-row dance performed in State of Lu

  The “佾yi or rows” dance was part of the sacrificial offering ritual at the sovereign ancestral temple. Only in the sovereign’s household should there have been eight rows of dancers. It was an imperial prerogative. The rites of propriety should follow the rank and dignity of the survivor. But there was an exception for rituals in worshipping the Regent of the Zhou Emperor Cheng周成王─the Duke of Zhou (Zhougong周公) who was also the first vassal lord of Lu State. Emperor Cheng granted Zhougong’s descendants, the heads of Lu State, the privilege to worship him as that of a sovereign could do. This privilege became a source of excuses for abuses of proprieties in ceremonial and music in Jisun clan ancestral temple. As the Jisun clan grabbed Lu State power, how dare he as a ducal minister usurped the use of eight-row dance of a sovereign at his familial ancestral worshiping ceremony for Lu Huangong 魯桓公.

 

3. The prevalence of propriety and music should stick to their nature.  

  The performance of rituals as part of the culture of propriety can help a nation to last, or merely destroy it. The Minister Jisun abused the use of rituals accelerated the fall of Lu state. This chapter tells us that do not try to manipulate the use of ritual propriety and music. The basis of ritual and music lies in the five cardinal relations to bring forth significantly splendid results in forming interpersonal and social conducts, brings harmony between superiors and subordinates, and builds mutual consensus. The might of a nation could then be endorsed with the prevalence of rituals and music.



    0:00
    0:00