中國的隱逸‧日本的隱逸：試論夏目漱石的《草枕》

「隱逸」的概念以及生活態度是中國傳入日本的想法之一，不過中日兩國的隱逸之間仍存在著許多差異。中國的隱逸也隨著時代而變化，批判現行體制逃避到政治所不及之地，或是無法苟同污濁的政治和追名逐利的世俗生活，於是展開追求高潔的精神。還有人拋棄任官的生活享受自身的私人生活。雖然具有多樣的發展型態，但是基底一脈相通的是充分顯現在「仕隱」一詞裡和仕官對立的生活態度。日本的隱逸有顯著的厭世動機，其背後還包覆著日本文學的無常觀。不像中國隱逸那樣，對峙並不明確，對世間存在著莫名的無法融入並感到厭惡。從對世俗的價值觀，在批評之前先興起厭惡這一點來看，可以說是極為情緒化的表現。如果說中國的隱逸帶有濃厚的政治意味，那麼日本的隱逸則為佛教、無常觀所支配。日本的隱逸是以雙層構造展現出來的，首先是「出家」拋棄世俗進入佛門。可是佛門也是一個社會，又希望從那裡脫離「遁世」。還有相較於中國的隱逸帶著家人、家族隨從進行，日本的隱逸卻連親人都捨棄不顧，追求一個人獨自過活。在繼承日本傳統的隱逸觀的同時，夏目漱石的《草枕》也開創了近代隱逸的一個典型。那是離開人世間種種的牽絆，希求自由自在的世界，漱石稱之為「非人情」的世界，意指脫離凡塵俗世無法避免的諸多煩惱的淨化世界。不過《草枕》確實也是一部有破綻的小說。描寫「非人情」到頭來又回歸「人情」的世界。對女主人公「那美さん」的肖像畫下不了筆的畫家主人公，在小說的尾聲確認了「那美さん」臉上「憐惜」之情時才直覺可以著手作畫。「憐惜」無疑地是「那美さん」所抱持的「人情」亦即僅僅「非人情」是不成其為小說，話雖如此，不過一被「人情」淹沒又和通俗小說無異，就在那微妙的拿捏間完成的作品。這部小說中鋪陳的內容是慰藉療癒對西洋文化感到疲憊不己的日本近代知識份子的「隱逸」世界，現在依然深植日本人的內心深處。

關鍵字

隱逸；厭世；夏目漱石；草枕；非人情

並列摘要

Seclusion as a concept generated by China in addiction to related lifestyles results in the gap between seclusion in China and seclusion in Japan. The former altered in terms of eras. The hermits in China used to live in seclusion of the current society in pursuit of sublimation due to avoidance of politics and/or of vulgar life via criticisms or dissent. Some chose to enjoy privacy by abandoning the life as an official. Despite the diversified seclusions, those hermits in China presented a lifestyle against officials. The latter presented an explicit pessimistic motivation covering the transience of Japanese literature. Unlike seclusion in China, seclusion in Japan lacked the explicit confrontation but the detestation caused by the unknown exclusion toward the vulgar society. Regarding the values toward the vulgarity, the detestation prior to criticisms was an emotional expression. Seclusion in China was caused by unsatisfactory politics whereas seclusion in Japan was driven by Buddhism and transience. The latter was a bi-layer structure consisting of both retiring from the world and leaving the Buddhism. The former refers to entering the Buddhism by retiring from the vulgar world and the latter refers to leaving the Buddhism since it is also a society. Seclusion in China was a private lifestyle with the whole family members and relatives, but seclusion in Japan was an independent lifestyle without any companion. Following the Japanese seclusion, Kusa-makura by Natsume Souseki was a paradigm of the modern seclusion in pursuit of a world free of worries and bonds of the vulgar world, i.e. an inhuman world specified by Souseki refers to a purified world free of inevitable worried in the real vulgar world. However, Kusa-makura is a novel with flaws since it presented an inhuman world in the first place but returned to a human world in the end. The hero unable to draw the portrait of Ms. Nami the heroine was finally able to draw once he identified the emotion of pity on her face at the end of the novel. Pity as a human held by Ms. Nami evidences that inhuman cannot finish the whole story. Still, if human dominated the novel, Kusa-makura would be identical with those popular novels, so Souseki accomplished this work by presenting subtle rather than excessive human. A world of seclusion presented by Kusa-makura healing the worn-out minds of modern Japanese intellects still remains in the minds of Japanese.