論天臥生〈鳥類之化妝〉理想的 新女性形象

Systematic Interpretation of Heavenly Consonance and True Self over Ego—Review of Chen Zhian’s Perspective and Research of Three Consonances in

近代（1840-1919)面臨外強的侵略與中國的節節敗退，主張改革的 知識份子將部分中國積弱不振的原因歸結於佔有廣大人口的婦女仍然 蒙昧、不事生產上；女子因此被賦予興國強民的責任，同時期婦女解 放運動也因應而起，新女性的時代議題成了知識份子關注的焦點。天 臥生〈鳥類之化妝〉描繪了舊式家庭與新式家庭不同成長背景的女子， 帶出不同層次與面向的新女性形象。此外，天臥生透過小說「遵循古 禮」的自由結婚方式，回應對於清末民初新式女子「自由結婚」所遭 遇「品德上的質疑」以及「物色對象」的問題。藉由小說中具備傳統 女性美德的理想新女性形象，描繪新女性的優點，闡述西方新知識的 生活實用性，來宣揚女子皆應當學習新知識的主張。

The explanation of heavenly consonance is not only one of the most critical concepts in Zhuangzi but also a significant issue which has continued being discussed in the study of Zhuangzi. Disagreements as to the definition of heavenly consonance， nevertheless， have existed in academia. The paper is divided into three parts: first， the researcher uses a methodical approach to detail previous studies， displaying four fundamental sorts of interpretations on heavenly consonance. Second， the researcher， from Chen Zhian， who explained the thinking of Zhuangzi in the Ming Dynasty， concludes that the fifth interpretation of heavenly consonance is “harmonize them by means of the unity of God and the truth in the sentence”， using Chen’s interpretive system of “true self over ego，” compared with the previous studies and the past arguments. Third， the researcher specifies how Chen’s spillover saying theory was formed to explain the notion of heavenly consonance. The purpose of this paper is to enrich contents of Zhuangzi Study through the extensive exploration in the matter of heavenly consonance and to further comprehend the ideas of Chen Zhian.