虛與身體——莊子、郭象與王夫之

Abstract

本論文以思考《莊子》之虛為命題，對於《莊子》之研究，從形上與形下轉向實與虛的關係。「實」是成心以可見之形對世界的把握，「虛」指的是溢出可視性的身體對變化的參與。因此，又分為三個研究方向，第一是擴大被成心桎梏的感覺，打開現實未被體驗到的面向，這涉及了工夫修養與對主觀境界形上學的再讀；第二是尋找身體業已體驗但難以被感知的那些經驗，這與想像力的擴大有關；第三是現實被捕捉為實，與即將成為現實的身體經驗虛，這兩個面向間相即關係的研究。本論文認為，郭象與王夫之對《莊子》的理解與發揮也都建立在實與虛的雙重性上，不論是郭象的形實與情實，王夫之的物之初與形之開，身體都表達了無法被思想捕捉的流變，這又可以從情感與氣兩個面向進行申論。郭象將情與感二分，分別對應了與成心結合的感官欲望與身體間真實的通達，「感」在《莊子注》是聖王治理的基礎；而王夫之認為，雖然我們被侷限於可見之形，我們看不到有形與無形在每一個瞬間的互動與差異變化，然而，正在經歷流變的身體卻保存了所有前於見聞世界，前於當下認知的相感經驗，即使這些經驗因為渾天一氣流轉，可見沒於不可見地帶而成為無對象的經驗。王夫之不斷強調貴身與愛身，因為這些未被成心認識的自身經驗（虛）指向了被成心攝取之物的差異內涵，亦即，身體具有改變彼此對立現狀的所有潛能。

最後，筆者以感受的相即性嘗試回應複雜的當代社會。因爲成心，我們對物、對他人會有一種被制約的官能反應，如果這是現實中彼與此日以心鬪的原因，莊子、郭象與王夫之則提醒我們，我們有能力在發生反應前，感受到有別於現實面的，自我與他人的相互含攝。這個因修養而生之「時」並非是物理時間上的放緩或遲延，而是道之「先成」，沒有時空相之「虛」。感受上的相即指的是：我們仍能明白我們會有什麼樣的官能反應，但我們確定自己可以做出一個不一樣的選擇，這個選擇源於身體對變化的持續參與，即使它們是如此微渺而難以感知。The main focus of this study will be a consideration of ‘xū’, or emptiness, within the Zhuangzi. The study of this emptiness will shift from the metaphysical and the physical to the relationship between reality and emptiness. ‘Shí’, or reality, refers to the intention to have a grasp on the world in its visible form, while emptiness refers to the participation of the body in changes which go beyond the visible world. This study can therefore be subdivided into three areas of research: The first area is the expansion of the senses that have been deliberately shackled and becoming open to aspects of reality which have not yet been experienced. This involves the skill of cultivation and a review of the subjective realm of metaphysics. The second area is the search for experiences which the body has already gone through, but which are hard to perceive, and this is related to the expansion of the imagination. The third area is the study of the relationship between reality, which can be confirmed to be true, and physical experiences of emptiness which are on the verge of becoming reality.This study argues that both Guo Xiang and Wang Fuzhi's perceptions of and elaborations on Zhuangzi are based on the duality of reality and emptiness. Whether in Guo Xiang’s physical and emotional reality or Wang Fuzhi's beginning of matter and opening of form, the body expresses a fluidity that cannot be grasped by the mind, but which in turn can be explained by both emotions and the concept of Qi. Guo Xiang created a dichotomy between feelings and sensations, which can be separated into the deliberate integrating of sensual desires with a true understanding between bodies. In Guo Xiang's Commentary on the Zhuangzi, ‘gǎn’, or sensation, is considered to be the foundation of a sage king's governance. Wang Fuzhi argues that although we are confined to the visible form and we cannot see the interactions between and changes in the visible and invisible worlds at every instant, the body that undergoes change does, however, retain all the perceptual experiences that precede the world of seeing and hearing, and precede the moment of awareness. Even if these experiences are formed inturbulent conditions, the visible will become an objectless experience once it disappears into the invisible world. Wang Fuzhi consistently stresses the importance of valuing and loving the body, because these experiences (emptiness) which are not consciously recognized indicate the different connotations of things which are deliberately internalized, that is, the body holds all the potential to change the status quo of contradictory juxtaposition.Finally, this paper will conclude with Wang Fuzhi's ‘Renewal as Beginning’ theory, which is a further affirmation and creation of the physical experience of emptiness introduced in Zhuangzi. Qi has a function of collective memory which not only influences the mood and behavior of individuals, but it also spreads and is conserved in communal bodily experiences, even those experiences which are difficult to perceive. If we wish to discuss how we are to know that things are as they are, this paper argues that: continuing to cultivate, value, and expand the body's ability to discern differences is perhaps the most important preparation for the creation of an ideal subject.