閱讀巴特和莊周所創造的文本，本身就是極歡快、自由的藝術體驗，這樣的閱讀經驗，早在巴特和莊周的預期和設計之中了。首先，兩者都不可以膚淺的快樂主義者視之，他們對身體歡怡之強調，蘊藏著自由和本真的洞見，亦有批判和治療的轉換契機；為達到這種美學式的救贖效果，兩者顯然都意識到關鍵在：語言和文本。巴特認為人的不真和驕慢，來自主體的虛妄膨脹，主體受到語言與權力的交纏誘蔽，無法反思自身的裂變過程，因此造成語言和權力的情結皺摺，為破除主體虛妄和權力膨脹帶來的不真和不快，巴特著力於主體、語言、權力的批判治療。遠早於巴特二千多年的莊周，在筆者看來，實早在從事類似的批判救贖運動，道家從來就主張人的主體自我是被文化符號網織出來的「有為」產物，人所以不能得到「自然」、「無為」的本真逍遙，正因語言二元結構的符號反控所造成的僵化，因此真正的真實自由之道，在於忠實語言遊戲、變化之流，也只有「喪我」、「無為」、「自然」，「真人」才能有逍遙之復歸。道家為復歸人的本真自然，便不得不有一連串的治療批判運動，其中也正好集中在主體、語言的解放上。筆者認為《莊子》一書在解放主體、參贊變化的表現上，彰顯在它的文學力量和文本空間這些具體的語言形式上。所以《莊子》中看到的絕不是傳記式的莊周主體，而是拼貼、裂變的莊周身影，而《莊子》的製作或編撰本身，就是氣化流行和語言遊戲的技藝朗現，因此《莊子》便可視為「氣韻生動」的文本，它彷若黃賓虹的寫意山水畫般。後期巴特的文本和《莊子》一書，都可謂是悅／醉文本之實踐策略，它們都示現了最徹底的文學力量。

Reading the texts created by Roland Barthes and Zhuang Zhou is the delightful and free artistic experience. First, two authors cannot be treated as superficial hedonists. Their emphasis on happiness implies the insight of freedom and authenticity. It also involves the turning point of critique and healing. In order to fulfill aesthetic redeeming effect, they both recognize the keys: language and text. Roland Barthes suggests that people’s disguise and arrogance derives from the subjects’ expansion. Subjects are sheltered by language and power and they cannot ponder on their changes. It tends to lead to complexes. In order to avoid disguise and unhappiness caused by subjects’ arrogance and power expansion, Roland Barthes focuses on critical treatment of subjects, language and power. Zhuang Zi has already fulfilled similar critical redeeming. Taoism emphasizes that human beings’ ego is the product “with action” constructed by cultural symbols. People cannot be in the true and free states of “nature” and “without action” is due to the rigidity caused by symbol countercharge of dual structure of language. Therefore, real authenticity and freedom is to follow language game and change. Only “without self”, “without action”, “nature” and “real human” can lead to freedom. Taoism aims to return to human beings’ authenticity and nature. Thus, there should be a series of treatment and cultivation. It is based on liberation of subjects and language. The author suggests that Zhuang Zi is upon the liberation of subjects and change which is demonstrated on specific language forms such as literary power and text space. Therefore, Zhuang Zi does not show the same subject as in biography. It is the cracked and changed Zhuang Zhou. The production or writing of Zhuang Zi is the technical demonstration of flow and language game. Therefore, Zhuang Zi can be treated as “vivd” text and it resembles the freehand landscape painting of Huang Bin Hong. Text perspectives of Roland Barthes and Zhuang Zi can be the implementation of plaisir/jouissance and they demonstrate the most significant literary power.

莊子;羅蘭巴特;語言;權力;文本

Zhuangzi;Roland Barthes;language;power;text