阮籍〈清思賦〉寫作特色析論

An Analysis of the Writing Features of Ruan Ji's Ching-Si Fu

漢魏六朝之際，有關神女與閑邪辭賦類型的書寫，頗為興盛。然而，阮籍〈清思賦〉從名義上雖屬閑邪，但實際的寫作方式更趨向於神女辭賦，故視為兩類型的結合，亦應無不可。其內容相較於宋玉〈神女賦〉、曹植〈洛神賦〉與陶潛〈閑情賦〉等著名篇章，也可看出阮籍的新創之處。如將女性與音樂之美並論，同列為審美對象，並提出其美學觀點。再者，提出有關至誠通神的心靈修養，以及藉由音樂聲音以通感萬物的觀念，藉由心靈修養，阮籍能更為適切地解釋之所以能與神女相會的理由，以及在篇末神女消散之後，作者內心能保持平穩寧靜的原因。另外，也因為阮籍所追求的女性之美，並不僅在於具體形貌，更隱含著一種對於永恆絕對的嚮往，因而在辭賦之中，阮籍對於神女的形軀面貌，並無清晰細膩的描繪，只有浮泛的光影可言，且屢屢強調神女與「雲」之間的奇妙關連，神女甚至與《楚辭．九歌》裡的雲中君，在形象上有著巧妙的相似。凡此，皆是在其他相關類型辭賦篇章所無，可視為〈清思賦〉獨具的創意與特色。

During the Han, Wei and Six Dynasties, the ＂Goddess＂(神女) and ＂abnegation＂(閒邪) types of Fu(賦) were very popular. Although Ruan Ji's ＂Ching-Si Fu＂(〈清思賦〉) is nominally a ＂abnegation＂ type of Fu, the writing style is more like the ＂Goddess＂ type of Fu. It is all right to regard it as a combination of these two types of Fu. Compared with Song Yu's ＂Shen-Nü Fu＂ (〈神女賦〉), Cao Zhi's ＂Luo-Shen Fu＂ (〈洛神賦〉) and Tao Qian's ＂Hsien-Ching Fu＂ (〈閑情賦〉), Ruan Ji's ＂Ching-Si Fu＂ has many novelties. For example, Ruan Ji talks about female beauty and music beauty and puts forward his own aesthetic views. Secondly, Ruan Ji puts forward the idea that ＂one can communicate with God with sincerity＂, and believes that music can communicate with everything. In Ruan Ji's view, spiritual cultivation is the reason why the author can meet the Goddess and keep his inner peace and tranquility after the Goddess disappears. On the other hand, the feminine beauty that Ruan Ji pursues implies his longing of eternity. Ruan Ji did not describe the appearance of the Goddess in detail, he just emphasized the connection between the Goddess and the cloud for many times. In this Fu, the Goddess is very similar to the Prince of Cloud in the Chu-Ci (《楚辭》). All of the above are not found in other Fu of the same type. These are the creativity and characteristics in Ruan Ji's ＂Ching-Si Fu＂.