葉嘉瑩教授講於萬佛聖城
Lectures by Professor Yeh Jiaying at the City of Ten Thousand Buddhas
陶淵明的詩很有思想性，但陶詩之好就在它雖有思想性，卻仍然是詩，不是說道理，也不是教訓你怎樣做人。上次講的那首「幽蘭生前庭」，是從院子裡一棵蘭花寫起，寫到他自己對人生的看法，用的是「興」的方法。今天要講的這一首，又是另外一種寫法。
Tao Yuanming’s poems are deeply reflective. Their beauty lies in the way they embody profound philosophical thought while still remaining true to the form of poetry. Although they are rich in insight, they are not didactic; they do not argue or instruct the reader on how to behave. Rather, they express understanding through imagery and suggestion. Previously, I lectured on a poem that begins, “A lone orchid grows in the courtyard.” In that poem, Tao Yuanming starts with a simple description of an orchid and gradually unfolds his philosophy of life. He does this through the literary device of xing—the spontaneous stirring of emotion upon encountering an external object.
子雲性嗜酒，家貧無由得，
時賴好事人，載醪祛所惑。
觴來為之盡，是諮無不塞；
有時不肯言，豈不在伐國。
仁者用其心，何嘗失顯默。
Ziyun is fond of wine by nature,
Yet poverty prevents him from obtaining it.
He relies on those “meddlesome” visitors
Who bring him fine wine,
Asking him to resolve their doubts.
He drains a full cup, and
Answers every question thoroughly.
At times, however, he refuses to speak
When asked about strategies for conquering states.
A benevolent person holds fast to principle,
And knows when to speak—and when to remain silent.
這首詩一開始就用典故，而用典故是什麼方法？是「比」的方法。李白有一句詩，「美人如花隔雲端」，用花來比喻美人，就是比的方法。只不過李白是用一個外在的物像來比，而陶淵明這首詩的「比」，比李白那一句的「比」更複雜些。
This poem begins by drawing on historical anecdotes. What is this method? It is bi—analogy or comparison. For example, Li Bai writes, “The beauty is like a flower, yet distant beyond the clouds,” comparing a beautiful woman to a flower. This is a straightforward use of bi, employing an external object as a point of comparison. Tao Yuanming’s use of this method, however, is more subtle and layered.
西漢揚雄，字子雲，文章、辭賦、學問都很好，他曾模仿孔子的《論語》寫了《法言》，模仿《易經》寫了《太玄》。他不贊成屈原跳到汨羅江裡自殺，所以寫了《反離騷》；他羨慕司馬相如寫的賦，因此寫了《長楊賦》、《羽獵賦》等很多有名的賦。《漢書‧揚雄傳贊》說他，「家素貧，嗜酒，人希至其門。時有好事者，載酒肴，從遊學」。這是有關揚雄的典故。不過我以前也講過，陶詩用典有很多不同的方法，有時用典故全部的意思，有時用與典故相反的意思，有時只用典故外表的字面。在這首詩裡，我以為他只是用了「家貧」、「嗜酒」、「少交遊」，偶然有人帶著酒菜來拜訪他這幾點意思。
Yang Xiong, whose courtesy name was Ziyun, lived during the Western Han dynasty. He was an accomplished scholar, known for his writings in prose and poetry. He modeled one work, Fa Yan (Words of a Confucian Scholar), on the Analects, and another, Tai Xuan (The Classic of the Supreme Mystery), on the Book of Changes. He opposed Qu Yuan’s suicide in the Miluo River and wrote an essay titled “Refuting the Li Sao.” He also admired Sima Xiangru’s fu style and composed his own celebrated works, including Changyang Fu and Yulie Fu. According to the Book of Han (Biography and Appraisal of Yang Xiong), “His family was poor, and he had a fondness for wine. Few people visited him. Yet some would occasionally bring wine and food to seek his advice and study under him.”These accounts form the historical background of Yang Xiong (Ziyun). As I mentioned before, Tao Yuanming was highly flexible in his use of allusions. Sometimes he drew directly from entire historical episodes; at other times, he inverted their meaning, or simply borrowed key ideas and expressions. In this poem, he selects a few essential details from the historical record—“poverty,” “fondness for wine,” “few visitors,” and “occasional guests bearing wine and food”—and weaves them into his poetic composition.
但歷史上還有一件事情，對揚雄一生的影響很大，那就是揚雄生逢王莽篡位的時代。王莽篡奪西漢的帝位，改國號為「新」，在他準備篡位的時候，曾編造許多「符瑞」來製造輿論。所謂「符瑞」，常常是某地挖出一塊石碑，某地發現一顆銅印，上面有古代留下來的文字，預言某某要做皇帝了。可是作了皇帝之後，王莽就不喜歡符瑞了，因為倘若符瑞預言還要出新的皇帝，那怎麼得了！所以誰再敢談符瑞，他就嚴加懲罰。
However, there is an incident in history that profoundly affected Yang Xiong. He lived during the time when Wang Mang (45 BCE–23 CE) usurped the throne of the Western Han dynasty. After seizing power, Wang Mang renamed the dynasty “Xin” (新). Before his usurpation, Wang Mang fabricated numerous so-called “auspicious signs” in order to manipulate public opinion. These included claims of discovering stone tablets or bronze seals inscribed with ancient messages predicting that he would become emperor. Yet after ascending the throne, Wang Mang grew wary of such signs. He feared that others might use the same tactic against him. As a result, he decreed that anyone who spoke of auspicious signs would be severely punished.
揚雄懂得古文字，有些談符瑞的人曾經跟揚雄學過古文字，因此就牽連到揚雄，王莽就派人來抓揚雄。當時揚雄正在天祿閣校書，聽見有人來抓他，心裡很害怕，就從樓上跳下來，差一點兒沒有摔死。這說明，揚雄對於生死禍福還沒有達到超脫的地步。而且揚雄還寫過一篇叫作<劇秦美新>的文章，是歌頌讚美王莽新朝的。因此，有的人認為陶淵明這首詩，是拿揚雄和柳下惠作對比，對揚雄有不以為然之意。陶淵明究竟有沒有這種意思？我們要讀完了他這首詩再作判斷。
Yang Xiong was well versed in ancient Chinese script. Some of those who spread talk of auspicious signs had studied these scripts under him, which led to his implication. Wang Mang therefore ordered his arrest. At the time, Yang Xiong was reviewing texts in Tianlu Pavilion (“Heavenly Emolument Pavilion”). When he heard that officials were coming to arrest him, he became so terrified that he leapt from an upper floor, nearly falling to his death. This incident suggests that Yang Xiong had not transcended concerns of life and death, nor the notions of fortune and misfortune. Yang Xiong also once wrote an essay titled “Denouncing Qin and Praising Xin,” in which he extolled Wang Mang’s new dynasty. For this reason, some later readers believe that Tao Yuanming, in his poem, intentionally contrasts Yang Xiong with Liuxia Hui, mentioning Yang in a tone of disapproval. But did Tao Yuanming truly intend this? Let us continue reading before making a judgment.
「子雲性嗜酒，家貧無由得」，揚雄天性喜歡喝酒，但家裡很窮，常常沒有酒喝——這也是陶淵明自己的生活體驗。「時賴好事人，載醪袪所惑」，於是就常常要等那些喜歡找一些事情做的人，他們有時會帶著酒來登門拜訪，請教一些問題。「惑」是困惑，就是不明白的問題。找揚雄的人，向他請教的當然是古文字或者有關《太玄》、《法言》的問題；但對陶淵明來說，卻不是這一類的問題。
Ziyun is fond of wine by nature, Yet poverty prevents him from obtaining it. Yang Xiong loved wine, but his poverty meant he could not always afford it—an experience that Tao Yuanming himself shared. “He relies on those ‘meddlesome’ people Who ‘bring’ him wine and ask him to resolve their doubts.” Thus, Yang often depended on visitors who liked to busy themselves with inquiries. They would bring wine when they came, asking him to clarify their questions or solve their intellectual puzzles. These “doubts” refer to problems or confusions they could not resolve on their own—often concerning ancient scripts or works such as the Tai Xuan and Fa Yan, which Yang Xiong composed. The questions posed to Yang Xiong differ markedly from those encountered by Tao Yuanming.
蘇東坡曾奇怪陶淵明，「正飲酒中，不知何緣記得此許多事」（《東坡題跋‧書淵明飲酒詩後》）。其實，陶淵明之所以在飲酒中聯想到這麼多人生問題，就是因為這酒來得不太一般的緣故。是帶酒來的那個人，提出一些非常重要問題讓陶淵明作出選擇，所以才引起了他這麼多關於人生的思考。
Su Dongpo once expressed puzzlement, wondering how Tao Yuanming could remember so much while drinking wine (Su Shi, “Epilogue after Transcribing Tao Yuanming’s Drinking Wine Poems”). Why was Tao Yuanming able to engage so deeply with life’s philosophical questions even while drinking? The answer is simple: wine did not come easily to him, and those who brought it often came with serious questions, seeking his counsel. These exchanges prompted him to reflect deeply on life.
「觴來為之盡，是諮無不塞」：是說你為我倒一杯酒，我就為你乾了這杯酒；你提出一個問題，我就為你解答一個問題。「觴」是酒杯，「觴來為之盡」就是「且共歡此飲」。「諮」是詢問，「塞」是填滿，意思是，凡是你所提的問題，我都盡量滿足你，給你解答。但那是一些什麼問題呢？他沒有說。所以陶淵明的詩很難講，他不僅給你一種感動，而且在感動中引起你思考；不僅引起你思考，而且在思考中給你一種回味。
“He gulps down a full cup of wine, and fully answers whatever question is asked of him.” In other words, if you offer him a cup of wine, he will gladly drink with you; if you pose a question, he will respond in full. The word shang (觴) means a wine cup, and the line suggests sharing a drink together—an echo of the ninth poem. The word zi (諮) means “to inquire,” while sai (塞) means “to fill completely.” Thus, whatever question is asked, he endeavors to give a complete and satisfying answer. Yet what kinds of questions are these? Tao Yuanming does not specify. This is precisely what makes his poetry difficult to lecture on. His poems not only move the reader, but also provoke reflection. And beyond reflection, they leave a lingering resonance in the mind—an aftertaste that continues to unfold.
一般來說，年輕人不容易欣賞陶淵明的詩，因為他們還沒有經歷過很多人生的考驗，沒有很多困難的人生問題需要他們去面對，去解決。更有的人每天吃飽了就睡，睡醒了就吃喝玩樂，從來不會用頭腦去思想，這樣的人永遠也不會欣賞陶詩。為什麼蘇東坡、辛棄疾都喜歡陶淵明的詩？因為他們都經歷了許多挫折和患難，面對過人生的選擇，所以他們能夠被陶淵明的詩所感動，知道他說的是什麼。更重要的是，陶詩的思想性不是直接說出來的，而是通過一個故事、一個情景使你感動，使你慢慢體味到的。這很難得，許多詩人做不到這一點。
Generally speaking, younger readers often find it difficult to appreciate Tao Yuanming’s poetry. They have not yet undergone enough life experience, nor have they faced the kinds of difficult questions that demand deep reflection. Some simply eat, sleep, and seek entertainment without ever pausing to think. Such readers will find it hard to enter Tao’s world. Why, then, did Su Dongpo and Xin Qiji both admire Tao Yuanming so deeply? It is because they themselves endured many setbacks and hardships, and often stood at critical turning points in life. Having faced such struggles, they were able to resonate with Tao’s poetry and understand its depth. More importantly, Tao Yuanming rarely states ideas directly. Instead, he expresses them through scenes and situations, allowing the reader to slowly savor their meaning and be quietly moved. This subtlety is rare; many poets are unable to achieve it.
既然「是諮無不塞」，那就是所有的問題都有解答了？可是並非如此，他是「有時不肯言」——這真是陶淵明的轉折，寫得真好！在第九首詩中他說，「且共歡此飲」，可是「吾駕不可回」。「不可回」和「不肯言」，同樣的精神，同樣的操守，同樣的品格！我也可以和你一起喝酒，我也可以回答你的各種問題，但我不是沒有原則的。你要我改變自己的道路跟著你走，那不可能；你要我回答那種不正當的問題，我絕不滿足你。那麼是什麼問題呢？是「豈不在伐國」。
Now, when the poem says that he “fully answers whatever question is asked,” does this mean Tao would respond to every question without exception? Not at all—because “at times, he declines to speak.” This turn is beautifully written. In the ninth poem, Tao says, “Let us enjoy a drink together,” yet here he shows another side of himself. The phrases “irreversible” and “declines to speak” both reveal his character, integrity, and steadfast spirit. In essence, he is saying: “I can drink with you, and I can answer your questions—but that does not mean I have no principles. If you expect me to abandon my own path and follow yours, that is impossible. And if you ask improper questions, I will certainly not oblige.” What kinds of questions would he refuse to answer? Likely those concerning matters such as schemes of power or strategies for conquering other states.
這裡又涉及另外一個歷史的典故。春秋時期魯國有個柳下惠，其實他的名字叫展禽，並不姓柳。「柳下」是他住的地方，「惠」是他的諡號。他在魯國擔任「士師」的官職，曾三次被罷免，卻不肯離開魯國到別的國家去求官。別人問他為什麼，他說﹕如果我「直道而事人，焉往而不三黜？」如果我「枉道而事人，何必去父母之邦？」由此可見，他為人很正直，不是那種肯逢迎拍馬的人。因此《漢書‧董仲舒傳》裡就講了這樣一件事，說有一天魯國的國君問柳下惠：「吾欲伐齊，如何？」柳下惠回答說：「不可。」可是他回家後就面有憂色，說：「吾聞伐國不問仁人，此言何為至於我哉？」就是說，侵略別的國家這種不正道的事情，不可以拿來問一個仁德的人，魯君拿這種事情來問我，是否我在他眼裡是一個不仁德的人呢？
At this point, Tao Yuanming introduces another historical allusion. During the Spring and Autumn period, there was a man in the state of Lu known as Liuxia Hui (720–621 BCE). His personal name was Zhan Qin; “Liuxia” refers to the place where he lived, and “Hui” is his posthumous title. He served as a judicial officer (shi shi) in Lu. Although he was dismissed from office three times, he remained unwilling to leave Lu to seek employment elsewhere. When asked why, he replied: “If I serve my state with integrity, where could I go without being dismissed three times? If I choose to serve without integrity, what need is there for me to leave my native land?” This response shows that he was a man of great honesty, unwilling to flatter or compromise his principles. The Book of Han, in the “Biography of Dong Zhongshu,” records an illuminating episode. One day, the ruler of Lu asked Liuxia Hui, “I wish to conquer the state of Qi. What is your opinion?” Liuxia Hui replied simply, “It should not be done.” Yet after returning home, he appeared troubled. He said, “I have heard that matters of conquest are not discussed with a benevolent person. Why, then, was such a question asked of me?” In other words, he believed that advising on aggressive warfare was incompatible with benevolence. The very fact that the ruler asked him such a question made him wonder whether he was regarded as lacking in virtue.
在東晉的時候，桓玄、劉裕這些人都懷著篡位的野心，無時不在策劃戰爭，誅除異己。所以，「有時不肯言，豈不在伐國」——你就可以想見那個帶著酒來拜訪陶淵明的人，向他請教的是哪一類的問題了。
During the Eastern Jin dynasty, figures such as Huan Xuan and Liu Yu harbored ambitions to seize power; they constantly plotted wars and eliminated rivals. In this context, Tao Yuanming’s line—“Sometimes he declines to speak, When asked about strategies for conquering other states”—
becomes especially vivid. We can imagine the kinds of questions that those who brought Tao wine might have asked him.
「仁者用其心，何嘗失顯默」：「失」是錯誤；「顯」是明白的表示；「默」是沉默不言。他的意思是﹕一個仁者，在做與不做、說與不說之間，不會出一點點錯誤。就是說，我待人都是平和友好的，絕不故意使人難堪。我也可以和人談話，但是什麼話該說，什麼話不該說，什麼時候該說，什麼時候不該說，我絕不會搞錯，因為我有我選擇的原則。
“A benevolent person guards his principles, / Never erring in knowing when to speak and when to remain silent.” Here, shi (失) means “to err,” xian (顯) suggests clarity or discernment, and mo (默) means “to remain silent.” The meaning is that a truly benevolent person makes no mistake in discerning what should be done or left undone, what should be spoken and what should remain unspoken. Tao Yuanming is, in effect, saying, “I treat others with kindness and sincerity, and I do not deliberately put anyone in an awkward position. I am willing to engage in conversation, yet I never lose sight of my principles. I know what should be said, what should not be said, and when silence is the proper response.”
這就是陶淵明在人生的某種情境之間所採取的態度。他不是直接把道理說出來，而是通過典故的故事，給人一種很真切的感動，在感動之餘，會引起你很多的思考。
This reflects Tao Yuanming’s attitude toward life. Rather than stating his principles directly, he conveys them through historical allusions and lived situations, allowing readers to feel their meaning for themselves. Once moved, they are naturally led to deeper reflection.♦