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¨äµ§¾¥¦p¤lÀs¤§±ùªáºj¡A¤½®]¤j®Q¤§¼C¾¹¡A¤H¨£¨ä±ùªáÀsµ¾
¡A¦Ó¤£¨£¨ä¤H»Pºj¼C¤]¡v(µù272 )¡C¡v´«¥y¸Ü»¡¡Aµeùتº¶h
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¶hªº¦¨¦â¡Q¶h¤£¬OªÅ¡A¦ýªÅ¬O¶hªº¹Ò¬É¡Q¶h¤£¬OµL¡A¦ýµL¬O
¶hªº¹ê¬Û¡C¶h»P¥P¤£¦P¡A§õ¥Õ¥P¦Ó«D¶h¡Q¶h»P©ñ¤£¦P¡A¨¿ÂÇ
©ñ¦Ó«D¶h¡Q¶h»P¨g¤£¦P¡A´R¨û©]¨g¦Ó«D¶h¡Q¶h»PÃm¤£¦P¡AĬ
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¨¥Àq¤£¥¢¥È·L¡A¦æ¤î¥¼Â÷ªk¬É¡QµL¦íµLµÛ¡A²öÄá²ö¦¬¡A¬O«D
¨â§Ñ¡A¯à©ÒÂùµ´¡Q©ó¬O´¼¼z¹y¶}¡A¯ëY²{«e¡A¦³Án¬Ò¬O¦òÁn
¡A¦³¦â¬Ò¬O¦ò¦â¡Q¦Ü¦¹Å׬OµêÃh²M®Ô¡A®ø®§¨R©M¡A§u¸Ö¼gµe
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Ù¶³ªL¡ua±iĦ¥ò®Ñ¡v¤ê¡R¡u¹²¤§©Ò¿×µeªÌ¡A¤£¹L¶hµ§
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¤£®e©ö¨ì¦Õ¡v(µù278 )¡T¤S¦ÛÃDµe¦Ë¤ª¡R¡u§E¤§¦Ë²á¥H¼g¯Ý
¤¤¶h®ð¦Õ¡T°Z´_¸û¨ä¬O»P«D¡A¸¤§Ác»P²¨¡AªK¤§±×»Pª½«v¡S
©Î¶î©Ù¤[¤§¡A¥L¤Hµø¥H¬°³Â¬°Äª¡A¹²¥ç¤£¯à±jÅG¬°¦Ë¡A¯u¨S
©`ÄýªÌ¦ó¡v(µù279 )¡T٤󪺵e¡A¤w¬O¦â¬ÛѪšA¬O«D¨â§Ñ
¡A¼g¯Ý¤¤ªº¶h®ð¡A¤£¨D§Î¦ü¡A¦Ó©ÉµM¦Û¼Ö¡C¤è¦ë«w¡u½×µe¡v
«ü¥X¡R¡u¶h¤]ªÌ¡A¶c¤]¡A¶c©ó´M±`½d³ò¤§¥~¡A¦p¤Ñ°¨¦æªÅ¡A
¤£¨ÆÅùµ¸¬°¤]¡A¥ç¦Û¦³°óºc¯·²À¡Q©Ò¿×¡y±Ð¥~§O¶Ç¡z¡A¤S¤ê
¡y§O®p¬Û¨£¡zªÌ¤]¡v(µù280 )¡CÙ@¹D¥Í¡u¥é¶³ªL¶h«~¡v¿×¡R
¡uÛ¼¦b´H¬ä¡AÂͦb°ª¬h¡A¨äÁnÁö¬Æ²Ó¡A¦Ó¯à¨Ï¤H»D¤§¦³¨è°©
«Õ«ä¡A°ªµø«Cߤ§·N¡C¬G¶h«~¤§µe¡A¥H¨q°©¦ÓÂéó¹à¡A¥H¥j
¤ß¦Ó¤J©ó«Õ¡A«D¨ä¤H¡A®£¥Ö°©Ñ¤£¦ü¤]¡v¡Q¤S¨ä¡uÀÀ¶³ªL½Ö
±q¤Ñ»Ú¬Ý¼g¦¹µL¤HºA¡vÃD¤ê¡R¡u¶h«~©ó°ª¤h¤§¥~¡A¬Æ¡¼¨äÛ
¡CµMªÛ¯óJ¥HµL®Ú¡SÆC¬uJ¥HµL·½¡S½Ð©ó¦¹»Ú°Ñ¨o¡v(µù281 )
¡T
¥Á°ê¤¤Q¤C¦~¤K¤ë¤@¤é©ó»O¥_
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µùÄÀ¡R
(µù 1) Ãö©órasa¤@¦rªº·N¸q¡A½Ð°Ñ¾\P.C.Pandey: Indian
Aesthetics; S.K.De: Sanskit Poetics as a
Study of Aesthetics; Anada K.Coomaraswamy:
The Transformation of Nature in Art;
M.Hiriyanna`s essay, ¡§Art Experience¡¨ in
Comparative Studies in Philosophy in Honor
of Radhakrishnan; P.J. Chaudhury: ¡§The
Theory of Rasa¡¨and ¡§Catharsis in the Light
of Indian Aesthetics,¡¨ in Journal of
Aesthetics and Art Criticism XI and XV;
N.K.Cokak: ¡§Rasa¡¨in Sri Aurobino Annual,
Bombay, 1948-49,¡§Western Thought and Indian
Aesthetics¡¨ in Cultural Freedom in Asia;
Clay Lancaster; ¡§Keys to the Understanding
of Indian and Chinese Painting ,¡¨in Journal
of Aesthetics and Art Criticism, XI;
V. Raghavan: Sources of Indian Tradition µ¥
®Ñ¤Î¤å³¹¡A«ö Rasa ¤@¦r¡A¬Û·í©ó¤¤°ê¤åµû¤W±`¥Î
ªº¡u¨ý¡v¤§¤@¦r¡AÂX¥R¦Ó¬°¡u¬ü·P¡v (aesthetic
sensilility )¤§¸q¡C¤Õ¤l¦b»ô»D»à¡A¤T¤ë¤£ª¾¦×
¨ý¡A¤S¿×¡u¤H²ö¤£¶¼¹¤]¡AÂA¯àª¾¨ý¤]¡v¡A¦¹§Y«ü
¬ü·P©ÎŲ½à¦Ó¨¥¡A¨ä«á¥qªÅªí¸t¨Ã¶i¦Ó´¦¥X¡u¨ý¥~
¨ý¡v¤Î¡u¨ý¦bñQ»Ä¤§¥~¡v¡A¨Ï¡u¨ý¡v¤§¤@¦r¡A¦¨¬°
¤¤°ê¬ü¾Ç¤Wªº¦Wµü¡A¨Ã³þ©w¨ýªº³Ì°ªì²z¡C¦Ü©ó¦Ñ
¤l©Ò»¡¡R¡u¤¨ý¥O¤H¤f²n¡v¡Q¤Î¤»¯ª¼z¯à©Ò»¡¡R¡u
¦p¤H¶¼¤ô¡A§N·x¦Ûª¾¡v¡Q«h¬O¡u¨ý¡vªº®Ç¥X·N¸q¡A
µ§ªÌ´¿©ó¥Á°ê¤T¤Q¤@¦~¦b«¼y¡u¤åÃÀ¥ý¾W¡v¤@¤ë¥Z
¤W¼¶¡u½×¨ý¡v¤@¤å¡A«á«¥Z©óµá«ß»«¥Xª©¤§¡u¤åÁp
¡v©u¥Z¤@¨÷¤G´Á¡A¥i°Ñ¾\¡C
(µù 2) Ãö©ó¡u«Õ¥È¡v(Yugen )¡A½Ð¾\ D.T.Suzuki: Zen
and Japanese Culture, pp.220-1; Sources
of the Japanesl Tradition, edited by
Wm. Theodorede Bary, pp.284-9; M.Ueda:¡§
Zeami on Art a Chapter for the History of
Japanese Aesthetics,¡¨ Journal of Aesthetics
and Art Criticism, XX, 1961, pp. 73-79 µ¥®Ñ
¤Î¤å³¹¡C¾Ú¹a¤ì«ü¥X¡A¡u«Õ¥È¡v¥çºÙ¡u§®¡v©Î¡u¥È
§®¡v¡QÁI®©¦bÃÀ³N¤¤ªí²{®É¡A«K²£¥Í¥X¡u®ðÃý¡v¥Í
°Êªº§@«~¡A¿²©è¡u§®¡v¹Ò¡A¨Ï¤H¿s¨£¡u«Õ¥È¡vªº¼v
¤l¡C
(µù 3) Ãö©óÁI¹ï¦è¤èªº¼vÅT¡A½Ð¾\ Hugo Munsterberg:
Zen and Oriental Art, Chap.XIII ¡§Zen and
Modern Art¡¨¡C
(µù 4) «ö¡u¤£¥ß¤å¦r¡v»P¡u¤£°õ¤å¦r¡v¡A¤@¦r¤§®t¡A·N¸q
¤£¦P¡C¡u¤£¥ß¤å¦r¡v¬O¡u°£»\»ÙµÐÂĩҰݸg¡v¨÷¤Q
©Ò»¡¡R¡u¦¹ªk°ß¤º©ÒÃÒ¡A«D¤å¦r»y¨¥©Ò¯àªí¥Ü¡A¶W
¶V¤@¤Á»y¨¥¹Ò¬É¡v¡A¥ç§Y¡u¯ëY¤j±ë¤ý°Ý¦ò¨MºÃ¸g
¡vùØ©Ò»¡¡R¡u§^¦³¥¿ªk²´ÂáA¯Iºn§®¤ß¡A¹ê¬ÛµL¬Û
¡A·L§®ªkªù¡A¤£¥ß¤å¦r¡A±Ð¥~§O¶Ç¡v¤§·N¡Q¡u¤j´¼
«×½×¡v¡uÄÀ¤Ñ¤ý«~¡v¤º¡A¹ï¦¹¸ÑÄÀ³Ì¬°¸ÔºÉ¡C¦Ü©ó
¡u¤£°õ¤å¦r¡v¡A¨£©ó¡u¤j¤è¼sÄ_
36¶
æ׸g¡v¨÷¤W¡A©Ò¿×¡u¤£µÛ¤å¦r¡A¤£°õ¤å¦r¡v¡A¥ç§Y
¡u¤j¯ëY¸g¡v¨÷²Ä¤¤C¤@©Ò»¡¡R¡u¤@¤Áªk©Ê¡A¬Ò¤£
¥i»¡¡C¨ä¤£¥i»¡¡A¥ç¤£¥i»¡¡CY¦³©Ò»¡¡A§Y¬Oµê¦k
¡Aµê¦kªk¤¤¡A³£µLÄ_ªk¡v¡Q¤Î¡u»¡µL«¯ºÙ¸g¡v¡uÁn
»D«~¡v²Ä¤T©Ò»¡¡R¡uªkµL¤å¦r¡A»y¨¥¹DÂ_¡QªkµLÄ´
»¡¡A»·Â÷¤@¤Áªi®ö«ä¬G¡C½Ñ¦³´¼ªÌ¡A©ó¤å¦r¤¤¡A¤£
À³°õµÛ¡A¥çµL©Æ¬È¡Q¤@¤Á¨¥»¡¡A¬ÒÂ÷©Ê¬Û¡v¤§·N¡C
¥Ñ¦¹¥i¨£¡u¤£¥ß¤å¦r¡v¡A¬O¦]¬°¤å¦r¤£¯àªí¹F¡Q¡u
¤£°õ¤å¦r¡v¡A¬O¦]¬°¤å¦r¤£¥iºÉ«H¡C
(µù 5) ¡u»y¨¥¹DÂ_¡v¥|¦r¨£¤T¯ª¹¬Àö¡u«H¤ß»Ê¡v¥½²Ä¤G¥y
¡A¤S¨£µù¥|©Ò´£¤Î¡u»¡µL«¯ºÙ¸g¡v¡uÁn»D«~¡v²Ä¤T
¡C¡u¤ß¦æ³B·À¡v¡A«h¨£©ó¡u¤j¯ëY¸g¡v¨÷²Ä¤¤C¤@
³Ì³Óµª°Ý¡CÄÀ¹¬»F¡u¯IºnµL¦W½×¡v¤º¦³¿×¡R¡u¯Iºn
«D¦³¡A¥ç´_«DµL¡A¨¥»y¸ôµ´¡A¤ß¦æ³B·À¡v¡C
(µù 6) «üÁI¬O¤@ºØ¯«¯¦¸gÅç¡A¹Ò¬É©Î¥D¸q¡A¬é¬O¤å¦r¤Wªº
¤è«KÅv³]¡C¨Æ¹ê¤W¡AÁI¬J¤£¬O¸gÅç¡A¤]¤£¬O¹Ò¬É¡A
§ó¤£¬O¥D¸q¡CÁI¤£¬O¸gÅç¡A¦]¬°¸gÅç¬O¤ßª«ªº¤À¹j
¡A¬O¤ßª«ªº²æÂ÷¡C¦bÁIùر¡A¨Æª«§Y¬O¡u¹ê¦b¡v¡A
¨Æª«§Y¬O¯u²z¡CÁI¤£¬O¹Ò¬É¡A¦]¬°¹Ò¬É¬O¨Æª«ªº¦í
µÛ¡A¬O½d³òªº§½¡C¦bÁIùر¡A¤@¤Á¨Æª«Án¦â¡A³£
¬O¹L¦Ó¤£¯d¡A¹B¦Ó¤£º¢¡AÀH½t¦Û¦b¡AÀH³B²{¦sªº¡C
ÁI¤£¬O¸gÅç¡A¤£¬O¹Ò¬É¡A¤]¤£¬Oõ¾Ç¡A¦]¬°õ¾Ç¤j
©è«Ø¿v¦bÅÞ¿è»P¤ÀªR¤Wªº¤@ºØ«ä·QÅé¨t¡A¦ÓÁI¾A»P
ÅÞ¿è¤ÀªR¬Û¤Ï¡A¬O¤ß©Î¤ß©Êªº¾ãÅé¡A¤£¥i¤À¤]¬O¤£
¥i媺¡C°£¦¹¤§¥~¡AÁI¤]¤£¬O¦è¬v©Ò»¡ªº¯«¯¦¥D¸q
(mysticism)¡C^¤å¤ºªºmysticism¡A¾É·½©ó§Æþ¤å
¤ºªºmysterion¡A¬O¯«¯¦¤§·N¡A¦Ómysterion¡A«h¥X
©ó¸Ó¦rªº°Êµümuo¡Aì·N¬O¡u³¬¥Ø¤£¨£¡A½p¤f¤£¨¥
¡v¡C¦è¬vªº¯«¯¦¥D¸q¡A±q®ÉªÅªº¹Ü¯}¡A©è©ó®ÉªÅªº
¥ÃùÚ»PµL¡A³Ì«á¹F¨ì¡u¤Ñ¤H·P·|¡vªº¯«¯¦¸gÅ窺
ªñ¥N·N¸q¡C¦b¬ö¤¸«á¤@¤G¦Ê¤¤¡A°ò·þ±Ð»P¡u·s¬f©Ô
¹Ï¾Ç¬£¡v( Nes-Platonism ) ¬Û¦X¤§«á¡A©Ò¿×¯«¯¦
¥D¸q¡A´X¥G¥þ«ü°ò·þ±Ð¯«¯¦¥D¸q¦Ó¨¥¡Q¦Ó°ò·þ±Ð»P
¯«¯¦¥D¸q¤§¦X¦Ó´_Â÷¡AÁÙ¬O¤ñ¸û±ßªñªº¨Æ¹ê¡C¤@¯ë
¦a»¡¡A¦è¬vªº¯«¯¦¥D¸q¡A¦Û©l¦Ü²×¡A½T»{¤H»P¤W«Ò
¡A¯u§Ú»P°²§Ú¡A«ä¶q»Pª½Ä±¦Ó±oªºª¾ÃѪº¤À³¥¡A³o
»PÁI®a©Ò´¦òUªº¸t¤Z¤£¤G¡Aµ½´c¤£¤G¡A°g®©¤£¤Gªº
¤@¤¸ºIµM¤£¦P¡C½Ð°Ñ¾\µá«ß»«¥Xª©¡u ·O¯è¡vÂø»x
²Ä¤Q´Á²Ä¤C¦Ü¤E¶©å§@¡u¤Ñ¦a¤H¡v¤@¤å¡C
(µù 7) ¤j¹ç¼e©M©|»y¡AÂà¤Þ¦Û¤¤µØ¤å¤Æ¨Æ·~©eû·|¥Xª©¡u
¤¤°ê¦ò±Ð¥v½×¶°¡v²Ä¤@¥U§õ¥@³Ç©~¤h©ÒµÛ¡u¤¤°ê¤j
¼¦ò±Ðõ¾Çªººën¡v¤@¤å¡A¨£¸Ó®Ñ¦P¥U²Ä¤E¤Q¤T¶
¡C
(µù 8) «öÁI®a©Ò»¡ªº¡u®©¡v¡A¨Ã¤£µ¥©ó¦è¬v©Ò»¡ªº¡uª½Ä±
¡v¡A¦¹¤¤¦³°ª§Cµ{«×ªº¤£¦P¡A¨ä°Ï§O¤U¤å¦³¸Ô²Óªº
°Q½×¡C
(µù 9) ªñ¥N¤åÃÀ¤ß²z¾Ç¤W¹ï©ó³Ð³y¬¡°Êªº¹Lµ{¡A¤À¬°¡u¼á
Ãh¡v ( preparation)¡A ¡u¥ñ§Z¡v©Î¡uº¥âÀ¡v (
incubation)¡A¡uÆF·Ó¡v(
37¶
illumination)¤Î¡u¹êÃÒ¡v(verification) ¥|¨BÆJ
¡A»PÁI®a½×®©´X§¹¥þ¬Û¦X¡C½Ð°Ñ¾\A.R.Chandler¡R
Beauty and Human Nature¡QT.Munro: Scientific
Method in Aesthetics; M.Schoen: Art and
Beauty µ¥®Ñ¡C
(µù 10) Suzuki says in Zen and Japanese Culture: ¡§
Where satori flashes, there is the tapping
of creative energy¡¨(P. 220). Herbert Read
says in Form in Modern Poetry, pp. 39-40
(Also in Collected Essays, p. 44): ¡§All art
originates in an act of intuition, or vision.¡¨
¨Ã½Ð°Ñ¾\Jacques Maritain: Creative Intuition
in Art and poetry, Chapters III and IV,
pp.51-198.
(µù 11) ¨£Suzuki: Studies in Zen, pp.109-124¡C«ö¹a¤ì
«ü®©¬O¡u¯ëYªºª½Ä±¡v¡A¥H¥Ü®©»P¦è¬v©Ò»¡ªº¡uª½
ı¡v¤§¤£¦P¡A»á¦³¨£¦a¡C»\©Ò¿×ÁI¡AÁö¥X©ó¦L«×·ì
Ïɬ£¤KºØ¦æªk¤¤¤§¡uÁI¨º¡v(Dhyana)¡AµMÁI»PÁI¨º
¡A¦W¦P¦Ó¹ê²§¡C¤¤°êÁI®a©Ò»¡ªºÁI¡A¬O¦c®pÁI®v¦b
¡uÁI·½½Ñ¸à¶°³£§Ç¡v¤º©Ò´¦òUªº¡u³Ì¤W¼ÁI¡v¡A¥ç
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Dhyana Buddhism in China¡A¤´¦³°Óºe¤§¾l¦a¡C½Ð
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series), pp. 79-86¡C
(µù 12) ¨£ Maritain: Creative Intuition in Art and
Poetry, Chap. 4.
(µù 13) ¨£§d¸gºµ¥ý¥Í©ÒµÛ Beyond East and West,
p. 182.
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³B¡A¬Ò¬O®©¡C¥u¬O¥j¤H¤£³ê§@®©¡A³ê§@ª«®æª¾¦Ü¡A
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(µù 16) Suzuki: ¡§Studies in Zen,¡¨ pp 84-128¡C
(µù 17) «öÄY¦Ð¡u·É®ö¸Ö¸Ü¡v¡Aìªþ¨è©ó¨ä¡u·É®ö§u¨÷¡v¤¤
¡A¥»¤å©Ò¤Þ¡A¨Ó¦Û¡u¾ú¥N¸Ö¸Ü¡v²Ä¤Q¥|¥U¡u·É®ö¸Ö
¸Ü¡vº¨÷¡u¸ÖÅG¡v¤§²Ä¤@²Ä¤»²Ä¤C±ø¡Cµy¤©¸`²¤¡C
(µù 18) ¤W¦C©Ò¤Þ¤å¦r¤¤¡A¨Ò¦p¡u¦V¤W¤@¸ô¡v¡A·½¥X¡u©v½×
¡v¡A©Ò¿×¡u¦V¤W¤@¸ô¡A¤d¸t¤£¶Ç¡v¡C¦A¦p¡u³æ¤Mª½
¤J¡A¡v»y¥X¡u¶Ç¿O¿ý¡v¡A©Ò¿×¡u³æ¤Mª½¤J¡A«h¤Z¸t
ºÉÅS¯u±`¡v(ÆF¯§»y)¡C¦Ü©ó¤ô¤ëÃè¶H¤§³ë¡A¨£¡u¤j
¼¥»¥Í¤ß¦aÆ[¸g¡v§Ç«~²Ä¤@¡R¡u´¼¼z¦pªÅµL¦³Ãä¡A
À³ª«²{§Î¦p¤ô¤ë¡Q¡v¡u¤å®í®v§Q°Ý¸g¡vÂø°Ý«~²Ä¤Q
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¦pÃ褤¶H¡Q¡v¤ÎÆ[¦³±¡«~²Ä¤C¡R¡u¦pÆ[¤ô¤¤¤ë¡AÆ[
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(µù 19) «ö¸ë¤ó´¿¼ÐÁ|»P²z©Ê¦³§O¤§®©©Ê(Verstand)¡C ½Ð
°Ñ¾\ S.T.Coleridge: Biographia Literaria,
Vol. I, P.109; and pp. 249-50 notes.
(µù 20) ¨£Bergson: Essai sur les donnes immediates
de la conscience ¤@®Ñ¤§^Ķ¥» Time and Free
Will, P. 14 ff.
(µù 21) ¨£ Croce: Aesthetics ¤@®Ñ^Ķ¥»¤ºIntuition
and Expression ¤Î Intuition and Art ¨â³¹¡C«ö
¬f®æ´Ë©Ò»¡ªºª½Ä±¡A¤j©è
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ªºªí¹F¡A¤wµL©v±Ðªº¦â±m¡C
(µù 22) «ö¤ýº®¬v´¿¿ïð«ßµ´¥y¤¤C¨¥¸Ö¡A¦W¬°¡u¯«Ãý¶°¡v
¡A¤µ¤w¥¢¶Ç¡A¶È¦³¡uð½å¤T¬N¶°¡v¡A¥i²¤¨£¨ä¹ï¯«
Ãýªº«~¨ý¡C¤ý¤ó©ó¡u¦À¥_°¸½Í¡v¨÷¤Q¤K¡A¤Þ¨W¶§¤Õ
¤å¨¦»y¡R¡u½×¸Ö¥H²M»·¬°©|¡A¦Ó¥È§®«h¦b¯«Ãý¡v¡C
(µù 23) Suzuki: Zen and Japanese Culture: ¡§When
satori artistically expresses itself, it
produces works vibrating with spiritual
rhythm, exhibiting myo (or the mysterious),
or givinga glimpse into the Unfathomable,
which is yugen¡¨(p. 221)¡C
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¤ÑÄ_¤j¾ú¶¡¤H¡v¤ª¤ª¡C
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¸¹«h¤s¡Q³®¡B¦r´º¥P¡C¤S¥ú¿A§õ¸ë¡B¦r¤Í¤s¡A»P¦Ð
¤Íµ½¡A¥ç¤u¸Ö¡v¤ª¤ª¡CÃö©ó¦¿¦è¸Ö¬£¡A§f¥»¤¤´¿§@
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¥N¸Ö¸ÜÄò½s¡v²Ä¤Q¤¥U¡A¥i°Ñ¾\¡C
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¾Ç¤H§¡´¿´£¤Î¡A±©½×¤ÎÁI¹ï¤¤°ê¸Öªº¼vÅTªÌ·¥ÂA¡A
§Y½×¥ç¥¼¨£¤¤ªÖ¡CÁ|¨Ò¥H¨¥¡AH.A.Giles ¼¶^¤å¡u
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¤C¤E¶ )¡A®í¤£ª¾ªí¸t¨ä¤H¡AÁö¶°¾§¹DÄÀ¤T®a©ó¤@
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¡vÁöÄݸÖÅé¡A¦ý©Ò½×§¡«Y¸Ö¤§·®æ¡A¨M«Dõ²z¸Ö¡C
L.Cranmer-Byng¬°Clara M. Candlin©ÒĶ¤¤^¹ï·Ó
¤§¡uµü¿ï¡v(»OÆW½Ķ¥Xª©ªA°ÈªÀµo¦æ)§@§Ç¡A´£¤Î
ÁI©v¹ï§ºµü¤§¼vÅT®É¡A³º¤Þ¥ÎÅP¦ò¼Ú¶§×¤§¡u¬îÁn
½á¡v(¨£¸Ó®Ñ²Ä¤Q¤G¶)¡C³¼¦b¬ü°êPomona College
°õ±Ð¤§³¯¨üÀ[±Ð±Â¡A§@^¤å¡u¤¤°ê¤å¾Ç¥v²¤¡v(Chi
nese Literature-A Historical Introduction)¡A
½×¤ÎÁI©v¹ï©ó¤¤°ê¸Ö¤å¥H¤Î¦U¤è±¼vÅT®É¡A³º¤Þ¥Î
§ù¨j¡u¾K¤¤¤K¥P¡v¤@¸Ö¥H¬°¨Ò¡C§Y¼½´ÁI¾Ç©ó¥@¬É
¤§¤é¥»¹a¤ì¤j©å¡A½×¤ÎÁI»P¸Ö®É¡A¶È¯à¥H¤é¥»¤§Ö
¥y§@¨Ò¡A¤£ª¾ÁI¹ï¤¤°ê¸Ö¤§¼vÅT¡A«e«á¤w¦³¹O¤@¤d
¦~¤§¾ú¥v ( ½Ð¾\¨ä©ÒµÛ Zen and Japanese
Culture¡A Chap. VII¡AZen and Haiku¡A PP.215-
268)¡A¥i¨£¨ä©ó¤¤°ê¸Ö¤§¤F¸ÑµS²L¡C¾Úµ§ªÌ©Ò¨£¡A
Wm. Ross and J.Isaaca¦X½s¤§ Contemporary
Movement in European Literature ¤@®Ñ²Ä¤G¤Q
¥|¶¤W¡A«áªÌ½×·í¥N^°ê¸Ö®a¦U¬£®É¡A´¿¤Þ¥ÎÄY¦Ð
¡u·É®ö¸Ö¸Ü¡v¡u¸ÖÅG¡v²Ä¤K±ø¡uªñ¥N½Ñ¤½¡A¤D§@©_
¯S¸Ñ·|¡v¤§¤@¬q¡A»á¬°¶K¤Á¡A¥i¨£¨ä©ó¤¤°ê¸Ö¾ÇÂs
Äý¤§¼s¡A³Ó¹L©Ò¿×º~¾Ç±M®a¦h¨o¡C James J.Y.Liu
©ÒµÛ¡AªÛ¥[ô¤j¾Ç¥Xª©
43¶
¤§¡u¤¤°ê¸Ö¾Ç¡v(The Art of Chinese poetry) ¤@
®Ñ²Ä¤G³¡²Ä¥|³¹²Ä¤K¤Q¤@¶¦Ü¤E¤Q¶¡A´¿¦CÄY¦Ð¤ý
¤Ò¤§¤ý¤hºÕ¤Î¤ý°êºû¬°¤@Ãþ¡A«ù¡uª½Ä±¡vÆ[ÂI¡A¦¹
«Y^¤åµÛ§@¤¤½×¤ÎÁI»P¸ÖÃö«Y¤§¶È¦³¤@¥U¡Cªñ¤H¿ú
ÄÁ®Ñ¥ý¥ÍµÛ¡u½ÍÃÀ¿ý¡v¡A´¿ºK¿ý¡u·É®ö¸Ö¸Ü¡vY¤z
»y¥y¡A»P¼w°ê¤§ Fontanes ¤Î Novalis »Pªk°ê
¤§Rimbaud¡AJoubert¡A Verlaine¡A Mallarme ¤Î
Henre Bremond µ¥¸Ö¤H»P§@®a©Ò¨¥¬Û¹ï·Ó¡A»{¬°¡u
¥°ºõ²Ó¸`¡AµL¤£¤£¬ù¦Ó¦P¡A¥ç¤¤¦è¤å¾Ç¤§©_½t¨Î¹J
¡v¡A¨Ã«üÄY¤ó¤@®Ñ¡A¡u¬¬¨¬¥H©ñ½Ñ¥|®ü¡A«S½Ñ¦Ê¥@
ªÌ¨o¡v(¨£¸Ó®Ñ²Ä¤T¤G¤E¦Ü¤T¤T¤G¶)¡C
(µù 55) Dr Lin Yu-tang: My Country and My People,
" The cause was at least partially to be
found in the infusion of new biood which
took place during the chaos of the preceding
centuries,¡¨P. 301.
(µù 56) Chen Chih-mai: Chinese Landscape-Painting:
The Golden Age¡A " It would seem an idle
pursuit for us to speculate as to why ,
beginning in the early T`ang period ,
landscape-painting gradually gained
ascendancy over the painting of religious
and human figures. It may have been due to
the fact that, in the long period of Buddhist
and Taoist predominance in China, The
figure-painters had literally exhausted
themseues adorning every wall of the hundreds
of thousands of temples all over the land
¡K¡K¡A¡¨P.2.
(µù 57) ¨£®Ñ¸g¡u°Ó®Ñ¡v¡u»¡©R¡v¤W¡C
(µù 58) ½Ð°Ñ¾\º~®Ñ¡uĬªZ¶Ç¡v¡A¡u»¯¥R°ê¶Ç¡v¡A¤Î«áº~®Ñ
¡u¥úªZ«Ò¥»°O¡vµ¥¡C
(µù 59) ¨£D.T.Suzuki: Studies in Zen , PP.136-137,
¡§Even when Zen is treated historically,
Hu Shih`s way of setting it in a historical
frame is not correct, because he fails to
understand what Zen is. I must strongly
insist that Zen must first be comprehended
as it is in itself; only then can one
proceed to the study of its historical
objectifications, as Hu Shih does.¡¨
(µù 60) ½Ð°Ñ¾\Ernest F.Fenollosa: Epochs of Chinese
and Japanese Art, Vol. I, Chap.III.P.29:
¡§To write the history of the Chinese soul
without seriously considering Buddhism,
would be like writing the history of
44¶
Europe under the hypothesis that Christianity
was a foreign and alien faith¡K¡K.¡¨
(µù 61) ½Ð°Ñ¾\éw¤s¤j®v¡u¹D¼w¸géw¤s¸Ñ¡v²Ä¤@¦Ü¤T¤Q¤G¶
¡uÆ[¦Ñ²ø¼vÅT½×¡v¡Q¿Äº³ªk®v¡u¦ò±Ð»PÁI©v¡v²Ä¤Q
¥|¤Î²Ä¤T¤Q¤»¶¡Q Suzuki: Essays in Zen
Buddhism(First series), P.103; Edward Herbert
: A Taoist Notebook, Chap.XXIII,¡§Taoism and
Zen,¡¨ PP.72-77; Herold Smith: The Buddhist
Way of Life: ¡§Chuang Tsu seemed to be
almost Buddhist before Buddhist arrived,¡¨
P.134.
(µù 62) ¥È¾Çì«ü¦Ñ²ø¡C¨¿Äy§@³q©ö¡B³q¦Ñ¡B¹F²ø¤T½×¡AÃC
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¤§¶Ç¡v¤Î¡u¹p¦¸©v¶Ç¡vµ¥¡C
(µù 63) ½Ð°Ñ¾\¡u¤ä¸q¤j²¤¡v¤Î¼z²®©Ò¼¶¡u°ª¹¬¶Ç¡vªì¶°¨÷
¥|¡u¸q¸Ñ¤@¡v²Ä¤K¶¦Ü¤E¶¡u®ÊÐæ¨U¬w¤s¤ä¹P¡v±ø
¡A¿ú¿p¥ý¥Í¡u¤¤°ê«ä·Q¥v¡v²Ä¤@¡³¤»¶¡C
(µù 64) ¡uÃfªúÂø°O¡v¿×¡R¡u»·®v(¼z»·)µ²¥Õ½¬ªÀ¡A¥H®Ñ©Û
²W©ú¡C³³¤ê¡R¡y§Ì¤l¶Ý°s¡AY³\¶¼¡A§Y©¹¨o¡C¡z»·
³\¤§¡A¹E³y²j¡C¦]«j¥O¤JªÀ¡A³³öã¬Ü¦Ó¥h¡v¡C
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(µù 84) ¨£³¯®v¹D¡u«á¤s¸Ö¸Ü¡v¥þ¨÷²Ä¤Q¤G¶¡u¹ç©å¤ð¥©¡v
±ø¡C«ö³¯¤ó¦¹¨¥¡A¨t½×¸Ö¤å¡A¨Ã«D½×µe¡A¦ý¸Öµe¦P
¤@ì²z¡C
(µù 85) Wordsworth says in the 1800 Preface:
¡§Poetry is the breath and finer spirit of
all knowledge.¡¨
(µù 86) Maritain: Creative Intuition in Art and
Poetry: ¡§Poetry Transcends art¡¨P.174 ff.
(µù 87) ¦P¤Wµù ¡C
(µù 88) ¨£§dµÛ¡u»¡¸ÖºÞãÇ¡v¥þ¨÷²Ä¤»¶¡u¤s¨¦¿×«U¤£¥iÂå
¡v±ø¡C
(µù 89) ¨£¤Wµù¦P®Ñ²Ä¤K¶¡u¤ån¾i®ð¡A¸Ön¬~¤ß¡v±ø¡C
(µù 90) §d¤ó©Ò»¡ªºªv¤ß¤§¡uªv¡v¦r¡A»P Aristotle ¦b
Poetics ¤º½×´d¼@®É©Ò¼ÐÁ|ªº Catharsis¡A¦ó¨ä¬Û
¦ü¡T
(µù 91) ¨£¸¤ó©ÒµÛ¡uì¸Ö¡v¡u¤º½g¡v²Ä¤Q¤C¶¡C
(µù 92) ¨£¡u«ü¤ë¿ý¡v¨÷¤G²Ä¤C¶¡C
(µù 94) D.T.Suzuki: An Introduction to Zen Buddhism:
"Zen naturally finds its readiest expression
in poetry rather than in philosophy because
it has more affinity with feeling than with
intellect; its poetic predilection is
inevitable,¡¨ (P.117). R.H.Blyth: Zen in
English Literature and Oriental Classics: "
Zen is poetry.¡¨(P.247). ¨Ã°Ñ¾\ Blyth: Zen
and Poetry (The Young East, VIII,26 and 27,
Published by the Young East
47¶
Association, Tokyc, 1958); Blyth:Zen and Zen
Classics, I, pp.11-13, ¡§What Is Zen?¡¨
published by the Hokuseido Press, 1960)¡C ¤S
²M¥N°ÓÄ_·N¡u½è¶é¸Ö¶°¡v¨÷¤G¤Q¤T¡u½×¸Ö¥ÜªÚ¨lµc
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¤§ÁÚ³Õ¤h©ó¥Á°ê¤¤Q¦~¦b¿D¬w°ê¥ß¤j¾Ç©Òµoªí
Chinese Landscape-Painting: The Golden Age
¤@^¤åºtÁ¿½Z¡A¦b²Ä¥|¦Ü¤¶ªºµù¸Ñ¤¤¡A¥ç¦¬Ã¹¦U
®aªº^Ķ¡A¥B¸û¸ÔºÉ¡CªL»y°ó¥ý¥Í©ó¥Á°ê¤¤Q¤»¦~
¦bÛ´°¥Xª©ªº The Chinese Theory of Art ¤@
®Ñ²Ä¤T¤Q¥|¦Ü¤T¤Q¤K¶¤W¡A°£Ä¶¥XÁ»®¡u¤»ªk¡v¥~
¡A¨Ã¹ïY¤z®aªºÂ½Ä¶¡A¦³©Ò§åµû¡C Ãö©ó¡u®ðÃý¥Í
°Ê¡v¤§Ä¶ªk¡Ap¦³ Ciles: Rhythmic Vitality;
Ferguson: The conception should possess
harmony and vitality; Siren: Spirit-Resonance
(or Vibration of vitality) and Life Movement
; Acker: Spirit-Resonance, which means
vitality; Rowley: Spirit resonance life
movement; Petrucci: La consonance de
I`esprit engendre le mouvement (de la vie);
Binyon: Rhythmic Vitality or spiritual
rhythm expressed in the movement of life;
Contag: The harmonizing movement of life-
breath; Cranmer-Byng: The fusion of the
rhythm of the spirit with the movement of
living things; Hirth: Spiritual element,
life`s motion; Jenyns: Spiritual expression
and life movement; Soper: Animation through
spirit consonance; March: A pieture should
be inspired and possess life in itself; Taki
seiichi: Spiritual Jone and Life-movemet;
D.T.Suzuki: spiritual(or
48¶
divine ) rhythm; Coomaraswamy and Kojiro
Tomito: Operation or revolutein or concord or
reverberateon of the spirit in life movement
µ¥¡C³¯¤j¨Ï¤§ÁÚĶ¬° the vitality of the
atmosphere; ªL»y°ó¥ý¥ÍĶ¬° a lifelike tone
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®a§¡¥ÎGiles ©ÒĶ¤§ rhythmic vitality¡C®}´_Æ[
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¤@¤C¤K¦Ü¤@¤C¤E¶¤W¡A«ü rhythmic vitality ¬°
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¨Ó¸ÑÄÀ¡u®ð¡v¦r·N¸qªº¡A¥¼§K¤pÃD¤j°µ¡A¨Æ¹ê¤W¡u
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¼sÃÒ³Õ¤Þ¡AºT¬B¦¨½g¡C®}±Ð±Â»{¬°¡u®ð»PÃýÀ³¦U¬°
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¾\¤ÎWalter Pater¦bThe Renaissance¤@®Ñ²Ä¤@¤@
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Its Origin and Its Significance,¡¨P.32¡C¨Ã
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(µù125) Ѩ£¤R°Ó¡u¸Ö¤j§Ç¡v²Ä¤G³¹¡C«ö¡u§Ó¡v¤§¤@¦r¡A¦b
¦è¤å¤¤¨´µL½T·íªºÂ½Ä¶¡CJames LeggeĶ¡u¸Ö¨¥§Ó
¡v¤@¥y¬°¡§Poetry is the expression of earnest
thought¡¨(¨£The Chinese Classics,Vol. III,
Part II, P.48; Lin Yutang: The Wisdom of
China and India, P.713; ) Gabriele M.Allegra
¥H©Ô¤B¤åĶ§@ ¡§ La Poesia esprime il prio
sentimento¡¨¡A ¨ÃÄÄÄÀ¬° ¡§La poesia e
l`expressione degli affetti del cuore¡¨( ¨£
Incontro Al Dolore di Kiu Yuen§Y©}ì¡uÂ÷ÄÌ¡v
¡AShanghai, 1938, P.16)¡Q¬I¤Í©¾±Ð±Â ( Prof.
Vincent Yu-chung Shih ) ©ó¨ä©ÒĶ¼B¼E¡u¤å¤ßÀJ
Às¡v¡u©ú¸Ö¡v²Ä¤»¡A¥çĶ¬° ¡§Poetry is the
expression of sentiments¡¨(The Literary Mind
and the Carving of Dragons, Introduction,
P.1 and Chap VI, P.31); Achilles FangÄÀ¡u§Ó
¡v¬Û·í©ó^¤å¤¤ªº feeling, aim, wish, will,
etc. (¨£ The Classical Anthology Defined
by Confucius; Introduction, P.XX);
L.Shirley-Price·NĶ¬°¡§Poetry is the mind in
words (¨£ Confucius and Christ, Chap.XI,
P.181)¡C¡u§Ó¡v¤§¤@¦r¡A¦b¡u¸Ö¦r§Ó¡v¤@¥y¤¤¡A¥]
§t¤ß¦b¡u±¡¡vªº¤è±(emotive aspect)¤Î¦b¡u·N¡v
ªº¤è± (volitional aspect)ªº¨â«·N¸q¡A©Ò¥H¦b
¦è¬v¤å¦r¤¤Ãø¦³½T·íªº¦r²´¡C
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¨â¥y¤Þ¦Û³°¾÷¡u¤å½á¡v²Ä¤»¬q¡C
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instinct) «D¡u©Ê¡v¡A¤R°Ó¡u¸Ö¤j§Ç¡v¤ÎÁéÀ¯¡u¸Ö
«~¡vµ¥½×¸Ö©Ò¶Ø¹Ä»Pºqµúªº©Ê±¡¡A¬O¡u·P¡v«D¡u±¡
¡v¡Q¡u©Ê±¡¡v¤G¦rªºµ¹»~¥Î¡A¥Ñ¨Ó¤w¤[¡A¥ç¤£©ó
¤¤°ê¡C¤Q¤K¥@¬ö^¸Ö¤H§d´þµØ (Wm. Wordsworth )
©ó¨ä¡u§ç±¡¸Öºq¶°§Ç¡v ( Preface to Lyrical
Ballads ) ¤º¡A½×¸Ö©Ò¼ÐÁ|ªºpowerful emotien¡A
§Y¦¹¤@¨Ò¡C²{¥N¸Ö»ó¯ª^¸Ö¤H¦ã²¤¯S (T.S.Eliot)
¥ç¤£¯à§K ( ½Ð°Ñ¾\¨ä©ÒµÛ The Saered Wood ¤@®Ñ
¤¤¡A¡§The Perfect Critic¡¨¤Î¡§Tradition and
Individual Talent¡¨¨â½g)¡CÁI»P¸Ö©Ò¬yÅSªº©Ê±¡
¡A¬O¸g¹L¤ÆÃy³³§Mªº¯u¼°¦Ó¤S¯Âºéªº©Ê±¡¡A¤]³\¬Û
·í©óJ.Maritain©Ò»¡ªº¡§intentional emotion(¨£
Creative Intuition in Art and Poetry, P.87)
¡¨©Î¦ã²¤¯S©Ò»¡ªº¡§ significant emotion¡¨( ¨£
Selected Essays, P.11)¡Q¥ç§Y¤Õ¤l©Ò¿×¡u·Å¬X´°
«p¡v¡u¼Ö¦Ó¤£²]¡A«s¦Ó¤£¶Ë¡v¤Î¡u¥i¥H«è¡v©ÒÁô§t
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¡A¤£ºÉ¬Ûµ¥¡A¨ä¤¤¦³µ{«×ªº¤£¦P¡A½Ð°Ñ¾\µù¤K¡B¤E
¡B¤Q¡B¤Q¤@¡C¹a¤ì©~¤h»{¬°¡u®©¡v¬O¡u¯ëYªºª½Ä±
¡v¡A¨£µù¤Q¤@¡C´ë¤S¿×¡R¡u¥»¤Hªñ¨Ó²`·PÁI©Ò±oªº
¸gÅç¡A¥Îfeeling(©Ê±¡)¤@¦r¨Óªí¹F¡A¸ûintuition
(ª½Ä±)¤@¦r¬°¨Î¡A©Ò¿×¡y©Ê±¡¡z¡A«Y«ü¨ä³Ì²`¨è¡A
³Ì¼sªx¤Î³Ì°ò¥»ªº·N¸q¦Ó¨¥¡A«D«ü¤@¯ë¤ß²z¾Ç®a³q
±`»P¨ä¥L¤ßÆF¬¡°Ê©Ò¤À¶}ªº¡y©Ê±¡¡z¦Ó¨¥¡C¤Hªº¦Û
¤ß»Pª«ªº¾ãÅé¬Û«´¦X¡A©Î¦³·Pı¨ìµL´J©ó¦³
¥H¤ºªº®ÉÔ©Ò±oªº¸gÅç¡A³oºØ¸gÅç¬O§Ú̯à©ó¿²©è
ªº¨CºØ¤ß²z¥\¥Îªº°ò¥»³B©Ò¼ç¦bªº¤@ºØ³Ìì©lªº©Ê
±¡¡Cª½Ä±¤£½×¨ä¬°¦óºØ¤è¦¡©Î·N¸q¡A¤´¨Ï¤H·Q¨ì²z
´¼´í·ºªº¨ý¹D ¡v(¨£Zen and Japanese Culture,
P.219, notes)¡Q¨Ã½Ð°Ñ¾\¤U¤å¡C
(µù130) ¨£µù¤Q¤C¡C
(µù131) ¨£¡u«ü¤ë¿ý¡v¨÷¤T¤Q²Ä¤Q¤¦Ü¤Q¤»¶¡u®|¤s©vªX¤j
¼z´¶Ä±ÁI®v»yn¡v¤W¡C
(µù132) ¨£G.G.Jung: Psychological Types, P.463¡C
(µù133) ¨£µù¤Q¤»¡C
(µù134) ¨£§õµÛ¡u½a·T§Ó¡v¡u¤å³¹½×¡v¤¤¡C
(µù135) ¨£ Brom Weber: Hart Crane; pp.417-421;
¤ÞCrane»y¡A ì¤å¬O¡R ¡§¡K¡Kin poetry the
rationale of metaphor belong to another order
of experience than science, and is not to be
limited by a scientific and arbitrary
54¶
code of relationships either in verbal
inflections or concepts¡¨¡C
(µù136) ¨£¡u¿à¥j°ó¦W½å¤ØÃ|·s¶r¡v¨÷¤K²Ä¤G¡³¤K¶¡u§E¤j
¦¨µª¤ß¿O¡v®Ñ¡C
(µù137) ¨£¡u¤ØÃ|·s¶r¤T¿ïµ²¾F¶°¡v¨÷¤C²Ä¤@¤¤¶±iø¯¡u
´_¨H¥q°¨¡v®Ñ¡C
(µù138) ¨£¡u¦òªGéG®©¯uıÁI®v¤ßn¡v¨÷¤W²Ä¤¶¡u±H±i«Å
¼¾¬Û¤½¡C¡v¦}½Ð°Ñ¾\¶³©~§ÙÁI®v©ÒµÛ¡uÁIªùÁëÁ廡
¤Q¤T½g¡v¡A¨ä©ó¦Û§Ç¤¤´¿¿×¡R¡uÁëÁ廡¦ÓÀÀ¤§®]ªZ
¤l¦ó¤]¡S¥H¥¿ªv°ê¡A¥H©_¥Î§L¡A¬W¤U¤§¨¥½T¨o¡T¡v
(µù139) ¨£ Eugen Herrigel: Zen in der Kunst des
Bogenschiessens, Konstang, 1948; English
translation: Zen in the Art of Archery,
by R.F.C.Hull, with an introduction by
D.T.Suzuki, New York, 1953¡C
(µù140) Alan W.Watts: The Spirit of Zen, pp.104-105;
The Way of Zen, pp.214-215¡C
(µù141) Maurice Percheron: Le Bouddha et la
Bouddhisme, pp.168-169, ¡§modern science,
in its physio-chemical branch, has come to
support Buddhism with all its might¡K¡K.The
latest conceptions of the atom have shown
that it finally breaks down into an energy
which is transformed each fraction of a
second¡K¡K. A change in perspective is just
dawning, and science, each day sapping its
way further into the world of appearances,
brings us nearer the truths divined and
proclaimed by the Buddha. ¡¨
(µù142) G.Cahen: Les Conquetes de la Penses
Scentifigue, P.10:¡§We will express thus¡K
the ultimate tendency of science:
the reduction of reality to the void,¡¨etc¡C
(µù143) ½Ð°Ñ¾\Robert Linssen: Living Zen; Part II,
Note II, pp.310-311:¡§Satori and the Research
Techniques of Physicists.¡¨
(µù144) ¨£¡u¦òªGéG®©¯uıÁI®v¤ßn¡v¨÷¤W²Ä¤G¤Q¤»¶¡u¥Ü
¤~ÁI¤H¡v²Ä¤T¬q¡C
(µù145) ¨£¤Wµù¦P®Ñ¨÷¤W²Ä¤G¤Q¤E¶¡u¥Ü¤W¤H¡v²Ä¥|¬q¡C
(µù146) ¨£¡u¤j¥¿¤jÂøg¡v²Ä¥|¤Q¤K¡u½Ñ©v«ß¡v¤²Ä¤G¡³¤@
¤ºØ¦c®p©v±KÁI®vµÛ¡uÁI·½½Ñ¸à¶°³£§Ç¡v¨÷¤U¤§¤@
²Ä¥|¡³¤C¦Ü¥|¡³¤K¶¡A
55¶
µ§ªÌ±N¦c®p¥þ¤å«¥[¾ã²z¦p¤W¡C
(µù147) ¨£¡u¦òªGéG®©¯uıÁI®v¤ßn¡v¨÷¤W²Ä¤G¤Q¤K¶¡u¥Ü
ÁI¤W¤H¡v¡C
(µù148) ¨£¡u«ü¤ë¿ý¡v¨÷¤G¤Q¤E²Ä¤G¤Q¤@¦Ü¤G¤Q¤G¶¡u§J¶Ô
¦òªGÁI®v¡v±ø¡C
(µù149) ¨£¡u¤j¥¿¤jÂøg¡v¨÷¥|¤Q¤K½Ñ©v«ß¤²Ä¤G¡³¤G¤GºØ
¡AªF§d¨Fªù²bµ½µÛ¡uÁIªLÄ_°V¡v¨÷²Ä¤@²Ä¤@¡³¤G¡³
¶¤Þ¡u³¹¦¿¶°¡v¡u±â°ó¿×¦¶µ¹¨Æ¥@^¡v±ø¡C
(µù150) ¨£¡u«ü¤ë¿ý¡v¨÷¤»²Ä¤Q¤@¶¡u³¾¸^¹DªLÁI®v¡v±ø¡C
(µù151) ½Ð°Ñ¾\Rudolf Otto: Mysticism East and West,
translated by Bracey and Payne, P.230:
¡§Thus the true relationship of the man who
is saved is for Ficht, as it was for Eckhart
: To know that he is one with the One, life
with the Life, not united but absolutely
united, and at the same time, to stand in
the world of multiplicity and division, not
straining after its disolution, but with
Eckhart, working righteousness in it, and
with Ficht, completing in it the living dead
of sthical culture, and thus with both
teachers bringing into this very world of
non-being and of death, Being and Life,¡¨
efe . ¨Ã½Ð°Ñ¾\ Suzuki: Studies in Zen,
pp.79-80¡C
(µù152) ¡§The Kingdom of God is within you,¡¨Luke:
17-21¡A Ķ¤å¨£§d¸gºµ¥ý¥Í¡u·s¸g¥þ¶°¡v²Ä¤@¤E¥|
¶²Ä¤»¦æ¡C
(µù153) ¡u§Y¤ß§Yª«¡v¡A¨£¡u¾Â¸g¡v¡u¾÷½t«~¡v²Ä¤C¡R¡u§Y
¤ß¤¸¬O¦ò¡C¡v¡u¤£¬O¤ß¡A¤£¬Oª«¡A¤£¬O¦ò¡v¡A¨£¡u
«ü¤ë¿ý¡v¨÷¤²Ä¥|¶¤Î¡u¶Ç¿O¿ý¡v¨÷¤»²Ä¤T¶¡u¦¿
¦è¹D¤@ÁI®v¡v±ø¡Q¦òªG¡u¤ßn¡v¨÷¤W²Ä¤T¤Q¤»¶¡u
¥Ü¯ª¦L¨Fº¸¡vÂà¤Þ¡A¤Î¡u«ü¤ë¿ý¡v¨÷¤K²Ä¤G¤Q¤»¶
¡u«n¬u´¶Ä@ÁI®v¡v±ø¡C
(µù154) Ãö©ó¤¤¦è¯«¯¦¸gÅ窺¤ñ¸û¡A¬O¤@«¤j°ÝÃD¡AÀ³¥t¦¨
±M®Ñ¬ã¨s¡A¥»¤å¶È§ãn²z¦p¤W¡C¾Úµ§ªÌ©ÒŪ¡A¹ï
¦¹¤@°ÝÃD³Ì¨Îªº°Ñ¦Ò®ÑÄy¡A°£µù¤@¤¤@©Ò¤Þ¾Úªº
Otto¤@®Ñ¥~¡A²ö¦pSuzuki: Mysticism Christian
and Buddhist, Section I, pp.1-93; Robert
Linssen: Living Zen, translated by Diana
Abrahams-Curiel, Chap, XXIV, ¡§Buddhism and
Christianity¡¨,pp.
56¶
203-235¡Q Aldous Huxley: The Door of
Perception, pp.12-13; Heinrich Dumoulin,
S.J.: A History of Zen Buddhism, translated
from German by Paul Peachey, New York,1963,
Chap.15,¡§The Essence of Zen,¡¨ pp.269-290;
R.C.Zachner: Mysticism Sacred and Profane,
pp.5-6; F.C.Happold: Mysticism, A Study
and an Anthology,¡¨ pp.77-84; W.T.Stace:
Mysticism and Philosophy, Chap.III, Section
5, pp.161-178, ¡§The Universal Self and the
Vaccuum-Plenum;¡¨Ananda K.Coomaraswamy: The
Transformation of Nature in Art, Chap.II,
¡§Meister Eckhart`s View of Art,¡¨pp.61-95;
Alan W.Watts: The Spirit of Zen, pp.74-81;
Nature, Man and Woman, Part I, Chapters 4
and 5, pp.87-118; ¹a¤ì©~¤h©ÒµÛ¦U®Ñ¡A§¡´¿´£¤Î
¦¹¤@°ÝÃD¡C
(µù155) ¹a¤ì©~¤hºÙÁI¬O¡u¿n·¥ªº²{¹ê¥D¸q¡A¦Ó«D¯«¯¦¥D¸q
¡A¡v¨£Studies in Zen, P.29¡C
(µù156) ¨£ Alan W.Watts: The Spirit of Zen:¡§Satori
is the measure of Zen,¡¨P.69¡C
(µù157) ¨£ Suzuki: Introduction to Zen Buddhism:¡§
Satori is the raison d`etre of Zen,¡¨P.95¡C
(µù158) «ö¬f©Ô¹Ï½×¹D½×¸Ö¡A¤¬¬Û¥Ù¬Þ¤§³B¬Æ¦h¡C½×¹D®É±Æ
¥¸¸Ö¤H©ó¡u²z·Q°ê¡v¤§¥~(¨£Republic, Jowett`s
translation, 660d)¡A½×¸Ö®É«h¿×¸Ö¤H¤§¸Ö¡A¡u¤£
¬O¤Hªº»s§@¡A¦Ó¬O¤W«Ò¤§©Ò½á¡v(¨£Ion:¡§For not
by art does the poet sing, but by power
divine¡¨)¡A§Y¬O¤@¨Ò¡C½Ð°Ñ¾\R.L.Nettleship:
Lectures on the Republie of Plato,P.351¡C
(µù159) ¨£A.E.Taylor: Plato, the Man and His Work,pp
.230-231¡C
(µù160) ½Ð°Ñ¾\ Milton C.Nahm: Aesthetic Experience
and its Presuppositions, P.10¡C
(µù161) ¨£Aristotle: Ars Poetica, 1451b and 1455a¡C
(µù162) ¨£Dean Inge: Philosophy of Plotinus, P.179¡C
«ö³Å¤ó«ü¥X¡uµ´¹ï¡v(Absolute)¤Z¤T¡R ¤@¬°¡u¬ü
¡v (Beauty)¡A¤G¬°¡u¤@¡v (One)¡A¤T¬°¡u¯«ÃÑ¡v
(Nous)¡C©Ò¿×Nous,IngeĶ§@Spirit¡C
(µù163) ½Ð°Ñ¾\Augustine: Confessions, BK, X, Chaper
XXXIV, P.53¡C µ§ªÌ«ö¡RPlontinus ©Ò»¡ªºNous¡A
¬Û·í©ó Augustine ©Ò»¡ªº L' Idee Supreme de
Platon avec Dieu¡A (¥t½Ð°Ñ¾\ K.Svoboda:
L` Esthetique de Saint
57¶
Augustine et ses Sources P.199 A.E.Taylor:
Plato, the Man and His Work, P232)¡A¥ç§Y¬f©Ô
¹Ï»P¨È¾ú¤h¦h¼w©Ò»¡ªºens realissimum¡A¦ü»P¤¤
°ê±`»¡ªº¯uµ½¬ü¤TªÌ¤¤¡uµ½¡vªº³Ì°ª¤@¼h·N¸q¬Û¦P
¡C
(µù164) ¨£St. Thomas: Summa Theologie, I-II, Qu. 57,
A.3-4¡C
(µù165) ½Ð°Ñ¾\J.Maritain: Art et Scolastigue(ªk¤å¥»)
pp.148-149; ©ÎArt and Scholasticism(^Ķ¥»)
¡Atranslated by J.F.Scanlan, pp.90-91¡A½×¶W
¶V¤@¤Áªº¡u¥»Åé¡v (l`essence)¤Î¥»Å骺¨ãÅé¦s¦b
(les conditions d`existence)ªº°Ï§O¡C
(µù166) ¨£ Boethius: Consolationes philosophiae,
V4.¡C
(µù167) ¨£µù¤Q¤E¡A¨Ã½Ð°Ñ¾\ The Logic of Hegel,
translated by W.Wallace, P.401, note¡C
(µù168) ¨£µù¤G¤Q¤Î¤G¤Q¤@¡C
(µù169) ¨£Bergson: Les deux Sources de la Morale et
la Religion, translated by R.A.Audra
C.Brereton and W.H.Carter, The Two Sources
of Morality and Religion, II, 25-26¡Cµ§ªÌ«ö
¡R¬f®æ´Ë½×¯«¯¦¸gÅç©Ò¥Î¤å¦rªº»y®ð¡A¦³Y¤z¦a¤è
»P¤¤°êÁI®a¬Û¦ü¡C¨Ò¦p¤Wz®Ñ¦¨²Ä¤G¤Q¤¶»¡¡R¡u
§ÚÌ¥²¶·¤@¸õ(¡§in a single bound¡¨)¡AÅD¥X(¶Ç
²Î©v±Ð¹D¼wªº½d³ò )¡v¡A³o»PÁI®a©Ò»¡ªº¡uÄa±VºM
¤â¡v¬Û¦ü¡C¬f¤ó¤S¿×¯u¥¿ªº¯«¯¦¥D¸q¦b¡u¬ð¯}³ö©¤
¡v(¡§break a dam,¡¨ P.216)¡A¤S»PÁI®a©Ò»¡ªº¡u
²æ«o±í©³¡v¬ÛÃþ¡C
(µù170) ¨£¤Wµù¦P®ÑP.216¡C
(µù171) ¨£Time and Free Will, P14 ff.ì¤å¦³¿×¡R¡§The
re are thus distinct phases in the progress
of an aesthetic feeling, as in a state of
hypnosis.¡¨
(µù172) ¨£Bergson: Laughter, An Essay on the Meaning
of the Comic, Chapter III, ¡§The Comic in
Character¡¨ ( translated by C.Brereton and
F.Rothwell )¡Cµ§ªÌ«ö¡R¦U¤è¹ï©ó¬f¤óõ¾Ç¡A«ü³d
¬Æ¦h¡CÁ|¨Ò¥H¨¥¡AM.C.Nahm´¿«ü¬f¤ó©Ò»¡¯«¯¦¸gÅç
»P¬ü·P¸gÅ祼¯à¿Ä³q (¨£Aesthetic Experience
and Its Presuppositions, pp.78-79).
E.Cassirer
58¶
¹ï©ó¬f¤ó©Ò»¡¬ü·P»P¶Ê¯vª¬ºA¬Û¦ü¤@¸`¡A¤×ªí¤Ï¹ï
(¨£An Essay on Man, pp.205-206)(¹a¤ì©~¤h©ó¨ä
©ÒµÛIntroduction to Zen Buddhism¤@®Ñ²Ä¥|¤Q¤T
¦Ü¥|¤Q¥|¶¤W¡A¥ç´¿«ü¥¸ÁIªº¸gÅç»P¶Ê¯vª¬ºA¬Û¦P
¤§»¡)¡Cµ§ªÌªxŪ¬f¤ó©ÒµÛ¡A¤×¨ä¦b¤Wz¤@®Ñ¤¤¡A
´¦¥X¡u»Pª«»P§Úª½±µß¦X¡v(Immediate communion
with things and with ourselves)¤@¸`¡A½T¨ã¨£
¦a¡AµM¨ä³Ì¤j¯fµh¡AºÝ¦b½×©v±Ð¦Ó¤À°Ê»PÀR¡A½×¶i
¤Æ¦Ó¤À¥Í©R»Pª«½è ( ½Ð°Ñ¾\J.A.Leighton: The
Field of Philosophy, P.316)¡A§¡«Y¤G¤¸¡C§Y¨ä
½×ª½Ä±©Ò»¡ªºª«§ÚߦX¡A¥ç«D¤¤°êÁI®a©Ò»¡ªºª«§Ú
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(µù173) ¨£µù¤G¤Q¤@¡C
(µù174) ¨£Benedetto Croce: Aesthetic As Science of
Expression and Generel Linguistic, P.35¡C
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and Zen Classics¡A²{¤w¥Xª©¤@¤G¨â¥U )ªº¤£¨Ó¤l
(Blyth¡A«ö¡u¤£¨Ó¤l¡v¤T¦r«Y¹a¤ì¬°¨ä©Ò¨úªº¦W¦r)
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ºq¼w¡B§d´þµØ¡B¬_¥ß°ò(Coleridge)¡BÀÙ·O(Keats)
¡B¦ãÀq¥Í (Emerson)¡B±ä¼Ö (Thoreau)¡B¥§ªö (
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