诠释学视域下“临尸而歌”的经典化路径

On the Classic Path of“Singing in the Presence of the Corpse”in the Horizont of Hermeneutics

“临尸而歌”的经典化路径有两条:第一,隐存的路径;第二,显在的路径。隐存的路径是指庄子与庄子后学在通达“齐生死”的逻辑进路上有所不同。在“临尸而歌”中,庄子把生死问题置于“心——道”结构的内向人生修养框架下予以消化。在“鼓盆而歌”中,庄子后学把生死问题置于“气化论”的视角下理解。显在的路径包含两个阶段,第一阶段由庄子后学把“临尸而歌”改编为“鼓盆而歌”而凸显。改编主要体现为人物“主体”的转换,即庄子后学把故事的核心人物由孟子反、子琴张、子桑户、孔子与子贡改编为庄子与其妻子。第二阶段由第一阶段的改编而引发,庄子与其妻子的登场把生死问题置于一种现实的家庭场景之下,使后代读者更容易体悟庄子“齐生死”的生命感受。薛恭祖、戴良、阮籍面对“临尸而歌”与“鼓盆而歌”所提供的现实图像,分别表达了自己对生死问题的独特看法。

There are two classic ways of the“singing in the presence of the corpse”namely the path of“obviousness”and the path of“hidden existence”.The path of“hidden existence”means that Chuang Tzu and his later learners had different logic access routes to“equality of life and death”.In“singing in the presence of the corpse”,Chuang Tzu digested the problem of life and death within the framework of inward life cultivation of the“mind-path”structure.In“beating a basin and singing”the followers of Chuang Tzu understand the problem of life and death from the perspective of“gasification theory”.The path of“obviousness”includes two stages.The first stage was highlighted by the followers of Chuang Tzu recomposing“singing in the presence of the corpse”to“beating a basin and singing”.The recomposition is mainly reflected in the transformation of the main characters,that is,the core characters of the story are transformed from Mengzifan,Ziqinzhang and Zisanghu into Chuang Tzu and his wife.The second stage was triggered by the recomposition of the first stage.The appearance of Chuang Tzu and his wife put the issue of“life and death”under a realistic family scene,making it easier for future readers to understand Chuang Tzu’s unique life experience.Xue Gongzu,Dai Liang,and Ruan Ji expressed their unique views on the issue of“life and death”in the face of the realistic images provided by“singing in the presence of the corpse”and“bating a basin and singing”.