摘要
对于庄子"鼓盆而歌"的奇特举动,如果只用想开了或看透了,达到齐生死、知天命的境界来解释,就会错失这个场景所蕴含的思想精髓.鼓盆而歌首先是在描述一个当下正在发生着的、真实的情景,一个"本体论"事件.庄子用夸张的手法,一方面告诉我们,跨越生死并非神秘难事,正如夜旦之相代,梦醒之交替,就发生在日常生活和生命活动之中,不只是"乐观精神".另一方面,将妻死和鼓盆而歌这悲喜两极之事,拉入同一情境中做强烈对比,是为了凸显真实发生着生命之"游"和"化",与意识所建构的有待世界并行不悖,在这个世界中,妻死之因,引发悲伤之果被认为是"客观"规律.庄子借助绝妙的夸张,让我们看到两个世界或生命两种形态的交织,逍遥游的非超越性.
Abstract
If we interpret Zhuangzi's strange behavior of"singing while beating a clay washbasin upon his wife's death"as his thorough understanding of life,or as achieving the unity of life and death and knowing the unavoidable fate,we will miss the es-sence of the thought contained in this scene.The"singing while beating a clay washbasin"first describes a current and real situa-tion,an ontological event.Zhuangzi has used a kind of exaggeration to tell us that transcending life and death is not a mysterious and difficult thing,just like the alternation of day and night,or the alternation of dreams and awakenings that occur in daily life and life activities,not just in the spirit of optimism.On the other hand,the stark contrast between the tragic death of his wife and the joyful event of singing while beating a clay washbasin in the same context is to highlight the reality of"wandering"and"trans-forming"life,which goes hand in hand with the law of the world constructed by consciousness.In this world,the cause of his wife's death leading to the sad ending is considered as an"objective"law.Zhuangzi uses a kind of exquisite exaggeration to show us the interweaving of two worlds or two forms of life,a kind of non-transcendence of wandering in absolute freedom.
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