徘徊と逍遙 : 阮籍「詠懷詩」の一考察

Abstract

Juan Chi's Yung-huai-shih, a series of eighty-two poems, has remained enigmatic to many readers and critics who try to find out what the poet really intends in these poems. Granting the difficulty in locating the author's real intention, I shall not concern myself with such an attempt. What I shall study is the difference between p'ai-huai and shao-yao in these poems. No doubt these two terms do not have entirely the same meaning, but we often cannot tell the subtle difference between them. P'ai-huai appears in four poems of the Yung-huai-shih, three of which are anthologied into Wên-hsüan 文選. The first one (夜中不能寐, 起坐彈鳴琴) is obviously the most well known as it has always been placed at the beginning of his work. The word p'ai-huai depicts a solitary and dispassionate Juan Chi who continues to p'ai-huai eternally. It allows the readers to see the blockage between the real world and the authour out of which he can never escape. On the other hand, the word shao-yao appears in six poems, even though only one of which is included in Wênhsüan. This word signifies a higher world above the mundane human space--the 'lower world'. It is a realm created in the poet's imagination. The poet who is in the state of shao-yao sometimes looks up to this 'higher imaginative world' and sometimes the poet himself becomes part of this 'higher world'. But in the case of p'ai-huai, the poet is always looking at himself who continues to p'ai-huai, and the readers who witness this may eventually be led to such a state of mind unnoticedly.