論《莊子》的「情」——試以「鼓盆而歌」事件所呈顯的「至人之樂」為討論核心

Re-Exploring the“Sentiment (情)”in“Zhuangzi (莊子)”——Taking the“Enjoyment of the Sagely-Minded Man(至人之樂)”that Had Been Revealed in the Incident of the“Drumming on the Basin and Singing (鼓盆而歌)”as the Core of the Discussion

過往學界討論《莊子》情感思想，認為《莊子》的「情」或有兩種解釋：一則情感、情欲，一則情實、真實，並主張《莊子》意圖消除會損害自身心靈的情感、情欲。延續上述討論，亦有學者探討莊子對親情倫理之態度，並主張《莊子》是具有親情倫理關懷之書。本文接續上述立場，嘗試以「鼓盆而歌」事件為核心，並以「自以為不通乎命」作切入，分析《莊子》「命」之主題的意涵，意在解讀「鼓盆而歌」背後所蘊含的真情實意。「鼓盆而歌」容易使世人誤會成「喜」之表現，產生如惠施（370B.C.-310B.C.）「不亦甚乎」的評價，從而使莊子有「涼薄無情」的負面形象。後世〈莊子休鼓盆成大道〉小說對莊子的詮釋，更加深塑造此種形象。有鑒於此，本文通過與「臨尸而歌」、「若歌若哭」的對比，歸納分析「鼓盆而歌」中歌之形式的情感意蘊及哲學義理，試圖說明「鼓盆而歌」非「喜」之表現，它更像是莊子因「安時處順」的喪葬態度達致至人之「樂」的「天地謳歌」。總言之，本文提出「鼓盆而歌」為與天地齊奏共鳴之謳歌的觀點，是悟道後的莊子進入至人之「樂」的呈現，既表現內心平和，也體現了「天地與我並生，萬物與我為一」的和諧關係。筆者以為，這種對人們察覺自身情緒的教導就是《莊子》所具有的深刻關懷。

In the past, the emotional philosophy was a popular issue of ''Zhuangzi'' among the discussions between different scholars, and they believed that the ''Sentiment (情) '' in ''Zhuangzi'' may have two interpretations: one is emotion and desires, while the other pertains to reality and truth. It has been argued that ''Zhuangzi'' intended to eliminate emotions that would damage one's own spirit. Extending this discussion, scholars have also explored Zhuangzi's attitude towards familial ethics, arguing that ''Zhuangzi'' is a work concerned with ethical family relationships. This paper follows this position, attempting to take the incident of ''Drumming on the Basin, and Singing'' as the core, and starting from ''I should think that I did not understand what was appointed'', to analyze the meaning of the theme of ''fate'' in ''Zhuangzi'', with the intention of inferring that the real sentiment hidden behind the ''Drumming on the basin and singing''. ''Drumming on the Basin, and Singing'' is easily misunderstood by others as an expression of joy, thus giving Zhuangzi a negative image of being ''cold and indifferent,'' which has led to evaluations like Hui Shi’s (370 B.C.–310 B.C.) statement, ''Isn’t this too extreme?'' Later interpretations of Zhuangzi in works such as the ''Zhuangzi Xiu Gu Pan Cheng Da Dao'' novel further reinforce this image. Given this, this paper contrasts ''Drumming on the basin and singing'' with ''Singing by the Corpse'' and ''Singing while Both Crying and Laughing,'' summarizing and analyzing the emotional implications and philosophical meanings of the form of singing in ''drumming the basin and singing.'' It attempts to demonstrate that ''Drumming on the basin and singing'' is not an expression of joy but rather a reflection of Zhuangzi's approach to death and mourning, which aligns with the natural order and leads to the ''joy'' of the sage, a ''cosmic song'' of Heaven and Earth. In conclusion, this paper presents the view that ''Drumming on the basin and singing'' is a form of cosmic resonance, a song in harmony with Heaven and Earth. It represents Zhuangzi's experience of ''joy'' after enlightenment, expressing inner peace and embodying the harmonious relationship of ''Heaven and Earth being born together with me, and all things being one with me.'' This essay believes that this teaching on the awareness of one’s emotions is a profound concern that ''Zhuangzi'' offers.