2005 3 1 35

-1-

372-289 B.C. 369-286 B.C.

(252?-312)

1

(textual issues)

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1

11971 2

1983 31988 1415-1451 4

1988Angus C. Graham

A. C. Graham, “The Book Chuang-tzu and the Problems of Translation,” Chuang-tzu: The InnerChapters (London: Mandala, 1991), pt. 1, ch. 8, pp. 27-36

2

-3-

2

3

4

5

6

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3

4

1927-1936 22 19 2b-3a5

1985 97-98

6

1990 281

7

(themes)8

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7 285-2868

(sub-themes)

9

8

24-25

30

10

11

12

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9 1989 60

10 2011 2312 286

(1546-1623) (1619-1692) 18

(1045-1105) 13

14

15

(technique of variation) 16

[theme] 17

18

-7-

13 114 1978 1 7a-b15 6a-b 7b16

20031-38

17 1980 138518

19

metaphorical language

(representational art)

(discourse) (referentiality)20 (224-263)

21

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19 6-920 (Claudia Gorbman) “ . . . [M]usic

is a highly structured discourse of sound: but its freedom from referentiality (from language andrepresentation) ensures it as a more desirable, less unpleasurable discourse.” UnheardMelodies: Narrative Film Music (Bloomington & Indianapolis: Indiana University Press, 1987),p. 6

21

2001567-601

22

23

24

(Susanne K. Langer, 1895-

1985) (tone,

sound) (assigned connotation)25 (words)

26

(significant form)27

(morphology of feeling)

(import) 28

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22 2002185184-186

582-58323 1997

34924 34225 Susanne K. Langer, Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and

Art (New York: Mentor Books, 1951), p. 20326 Feeling and Form (New York: Charles Scribner’s Sons, 1953)

“Because its [music’s] elements are not words—independent associative symbolswith a reference fixed by convention.” 31

27 3228 Philosophy in a New Key “[W]hat music can actually reflect is the

morphology of feeling”; “It [music] is a form that is capable of connotation, and themeanings to which it is amenable are articulations of emotive, vital, sentient experiences. But itsimport is never fixed.” 202 203

29

(Richard Wagner, 1813-1883) (leitmotif)

(melody) 30

(Claudia Gorbman)

31

(harmonic progression)

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29 (David Sonnenschein) (The foundation of listening is anticipation,

seeking patterns and variations within expectation.) Sound Design: TheExpressive Power of Music, Voice, and Sound Effects in Cinema (Studio City, Calif.: MichaelWiese Productions, 2001), p. 117

30 (Kathryn Kalinak) “ . . .[A] motif [is] a distinctive musical passage that is repeated (and varied) throughout a musicaltext.” “The leitmotif or leading theme is a musical phrase, either as complex as a melody oras simple as a few notes, which, through repetition, becomes identified with a character,situation, or idea.” Setting the Score: Music and the Classical Hollywood Film(Madison: University of Wisconsin Press, 1992), pp. 15, 63

31 Gorbman, Unheard Melodies, p. 3 “Based on the Wagnerian principles ofmotifs and leitmotifs, a theme in a film becomes associated with a character, a place, a situation,or an emotion. It may have a fixed and static designation, or it can evolve and contribute to thedynamic flow of the narrative by carrying its meaning into a new realm of signification.”

32

(context)

(non-representational)

(representational) [images]

[speech] 33

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32 26 “nondiegetic music” “Diegeticmusic”

33 27

4

34

35

36

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34 19742 31-32

35

196220

36 1989 407

37

“Free like a bird”

(earthbound)

38

39

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37 19651 149

2238 1991 1 539

1987 4

4

40

41

42

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40

1986 392-39341 2042

43

25 31

4-5

5

-15-

43

22

44

20

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44

7 1 1989 6 223-253

20

45

20-21

-17-

45

mask mask

Shuen-fu Lin, “Confucius in the ‘Inner Chapters’ of the Chuang Tzu,” TamkangRiview, XVIII. 1-4 (Autumn 1987-Summer 1988): 379-401

(disputation) (knowledge)

8-9

52-54

46

-18-

46 Kenneth DeWoskinA Song for One or Two: Music and the Concept of Art in Early

China (Ann Arbor: University of Michigan Center for Chinese Studies, 1982), pp. 31-37

12-15

47

15

17

18

48

56

-19-

47 15-1848

115

1997 47

1974 11128

49

50

51

52

25

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49 4550 1983

93

51 24-2552 1972 87

53

54

33

3155

32

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53 197858 149

54 1984 3455

27 2838

56

57

39

40

-22-

56

1-3857 180

58

59

60

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58 2559 Burton Watson “Woman Crookback”

Watson “WomanCrookback” Watson

The Complete Works of Chuang Tzu (New York: Columbia University Press, 1968),p. 26

1966 2531988 133

13760 3 5-6

61

62

42

4463

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61 17862 17963 45

2162 26a

64

65

47

29

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64 2865 2 30a

47-48

66

67

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66 5567 208

9

21

26

48-49

68 (paradox)

-27-

68 172

49-50

69

70

32 33

71

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69 17570 1974 11371

10 11 12

61

56

72

56-57

73

-29-

72 25173 254

74

75

76

77

4

5

78

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74 28775 12576 29977 7078

10

5

79

63

66

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79 7

80

62

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80 308

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Those Who Can Fly without Wings:The Depiction of the Ideal Persons in the Inner Chapters

of the Zhuangzi

LIN Shuen-fu

In ancient Chinese texts, those figures with perfect moral character and superiorintelligence are generally referred to as sages. The Zhuangzi is an exception. Thesupreme ideal person is here called the “perfect person,” the “daimonic person,” or the“authentic person,” in addition to the “sage.” Most scholars of the Zhuangzi regard the“sage,” the “perfect person,” the “daimonic person,” and the “authentic person” as foursynonymous terms referring to the same ideal person of the highest attainment.Focusing on the Inner Chapters of the Zhuangzi, this paper attempts to examine thedepiction of the ideal persons with an eye to the art of descriptive prose of this greatancient Chinese text.

With the exception of “The Secret of Caring for Life” and “In the World ofMen,” the other five Inner Chapters all entail direct depictions of the ideal personswho have reached the highest level of attainment. The ideal persons in the Zhuangziare those with absolute spiritual freedom. There exist interesting cross references andmutual complementation among many sections of the Inner Chapters in which theideal persons are depicted. The ideal persons in these chapters are mostly found tohave the ability to fly.

This paper attempts to employ the technique of theme and leitmotif used in filmmusic to analyze the art of prose of the Inner Chapters of the Zhuangzi text. Becauseof the correspondences of the leitmotif of flying and other details within the InnerChapters, the depictions of the ideal persons constitute variations on a theme. Usingthe idea of the variations on a theme to analyze the art of prose of the Zhuangzi allowsus to appreciate the fact that the prose of this text exhibits rich variations on the onehand and a mysterious sense of unity and harmony on the other. The skillful use of thetechnique, comparable to the variations on a theme in music, is undoubtedly the mainreason that the Zhuangzi is such a great work in the history of Chinese literature.

Keywords: The Inner Chapters of the Zhuangzi the ideal personvariations on a theme film music the leitmotif of flyingthe art of prose

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