从不“回翔”之“奇鸟”到“翼翼”之“归鸟”——阮籍的“悲情”与陶渊明的“放欢”

From the "Unhovering Odd-bird" to the "Rejoicingly Returned Resident-bird" the "noble pathos" of RUAN-Ji and "Heart-free chant" of TAO Yuan-ming

阮籍是我国魏晋时代的大名士,陶渊明是我国晋宋时代的大隐士,所以他们二人都具有文化典范意义或价值。阮籍是名至实归的"悲鸣"的"竹林"中"奇鸟",而陶渊明却是名副其实的"放欢"的"田园"中的"归鸟"。阮籍"悲鸣"的根源是儒家社会核心价值观的沦丧所带来的精神震荡,而陶渊明的"放欢"的根源是发现了新的生活价值观,从向外追求社会核心价值的实现突转到向内发现自我生活价值的意义。

RUAN Ji is an outstanding personage of Wei-Jin era in China; IAO Y uan-ming is a great hermit of Jin-Song era in China. So the two of them possess the cultural significance or valuable model. RUAN Ji is really the ＂Odd bird＂ in the ＂Grieved garden＂. The root of RUAN Ji is ＂Lament＂ is the mental shock by the morally bankrupt of the Confucian society. Yet the root of the ＂Eestacy＂ of TAO Yuan-ming is that he found out a new moral v, alue. He then converted himself from the outer realization of the social core values to inside achievements of the value of self-living.