費昭(Tyler Feezell)博士主講“古靈寶經中的步虚”紀要
2024年6月7日20:00-22:00,美國達特茅斯學院宗教系博士後研究員費昭(Tyler Feezell)在線上為西南交通大學中國宗教研究中心師生及海內外聽眾做了題為“古靈寶經中的步虛”(Hymns and Mythology: Pacing the Void in Lingbao Scripture and Ritual)的英文講座。此次講座係香港大學香港人文社會研究所與本中心合作舉辦的“道教的經典與儀式”雲端系列講座第八講。講座由美國羅林斯學院(Rollins College)助理教授劉婧瑜主持,特邀嘉賓是西南交通大學人文學院教授呂鵬志。
講座伊始,費博士說明本次講座是應呂鵬志教授邀請,介紹自己的博士論文和正在撰寫的專著中關於靈寶的部分。費博士在學位論文中解釋道,“步虛”大體上是昇天的意思,這個概念在歷代各類文獻中發展出豐富的內涵。他在論文第一部分中追溯早期道經中的步虛,包括步虛在上清經中的發端以及在靈寶科儀中的發展; 第二部分探索年代稍晚的步虛詞,以北周的庾信和唐代的吳筠為例,分別闡釋了國家宗教中的步虛和步虛詞創作的文人化。本講座內容來自第一部分中關於靈寶的章節。
費博士列出了希望討論的重點問題,包括步虛在靈寶傳統中的特殊含義,神話對步虛的演繹,以及在神話的基礎上步虛在經文、儀式中的演變。針對這些問題,講座分為六部分:佛經與上清經中的步虛,現存的步虛經,靈寶步虛詞及其內容,步虛的神話建構和其它靈寶經,神話和儀式(以靈寶齋和陸修靜的《授度儀》為例),及結論。
一、佛經與上清經中的步虛
費博士在講座的第一部分追溯早期的“步虛”概念。關於這個問題他同意羅爭鳴教授的說法。他發現在佛經中,西晉《佛說普門品經》、西秦《羅摩伽經》和竺法護譯《漸備一切智德經》中可見“步虛而來”“遊步虛空”“足步虛空”等一般性概念,用以描述佛菩薩等昇空的場景。他進而指出類似的四字短語“登空步虛”“乘空步虛”在早期上清經中已經出現。舉例來說,《洞真太上神虎隱文》中有仙真頌唱的“金真之詩”“步虛之曲”。由此可見,上清經將步虛概念引入道教,他闡明上清經中的步虛詞是本講座重點關注的靈寶步虛詞的先聲,但與後者不同的是,前者可用於驅魔。
費博士歸納出上清經步虛詞的一些共同的結構:從儀式視角看,它們包括頌讚、符、咒等因素;從敘事看,它們以降經、授度為背景,以仙樂的演奏為框架。
二、《洞玄靈寶玉京山步虛經》
介紹完上清經中的步虛概念後,費博士進入講座的正題,開始介紹靈寶經中的步虛。他以《洞玄靈寶玉京山步虛經》為例介紹現存的靈寶步虛經:此經在陸修靜《靈寶經目》中著錄為《昇玄步虛章》,大約在隋唐之際出現了註本《洞玄靈寶昇玄步虛章序疏》。此經包括神話敘事、步虛吟、洞玄步虛吟十首、太上智慧經讚八首、太洞玄經玉京山經訣、五真人頌、禮經三首、師徒授受八個部分。
費博士援引《靈寶經目》著錄的另外兩部經《太上洞玄靈寶空洞靈章》《太上靈寶自然至真九天生神章》與此經作比較研究,觀察到它們有共通的結構,三者都包括關於起源的敘事、步虛詞的傳授及步虛詞本身。
三、靈寶步虛詞
費博士說明這些十節的五言詩後來發展出不同長度、韻腳的變體。為了讓觀眾深入了解靈寶步虛詞,費博士展示了他對《洞玄靈寶玉京山步虛經》的翻譯,用逐字逐句翻譯的方式解釋經文的字義。以下由他博士論文中選錄講座提及的步虛詞及譯文,並根據講座和博士論文對其中的重點詞句加以說明。
第三首
嵯峨玄都山, Jutting and jagged, the Mystic Capital mountain;
十方宗皇一。Where the ten directions revere the August One.
岧岧天寳臺, Toweringly tall, the Terrace of Celestial Treasures;
光明爓流日。Ablaze with the radiant light of the drifting sun.
煒燁玉華林, Shimmering and shining, the Grove of Jade Florescence;
蒨璨耀朱實。Striking and sparkling, the fruits of Resplendent Vermillion.
費博士指出此經多次提及玉京山上的“七寶玄臺”,除此處外,其它地方稱之為“劫仞臺”。
第五首
控轡適十方, Drawing up the reins, I proceed through the ten directions;
旋憩玄景阿。Halting my circumambulations at the banks of the Mystic Effulgences.
仰觀刼仭臺, Looking up, I observe the Terrace of Kalpa Fathoms;
俯盻紫雲羅。Looking down, I glimpse the veil of purple clouds.
逍遥太上京, Roaming free and easy at the Capital of the Most High;
相與坐蓮花。Facing one another, we sit upon lotus flowers.
費博士援引《九天生神章經》,解釋“玄景”為載有道之士昇天的車駕的光芒。
第九首
流煥法輪綱, Flowing iridescence from the mainstays of the Wheel of the Law.
旋空入無形。We circle in the emptiness and enter non-form.
虚皇撫雲璈, The Sovereign of the Void strums his cloud ao;
衆真誦洞經。As the masses of perfected recite the Cavern Scriptures.
高僊拱手讃, Lofty transcendents clasp their hands together as they sing praises;
彌刼保利貞。For everlastings kalpas, may favor and uprightness be preserved.
費博士指出此處對虛皇奏樂、眾真誦經的描述為吳筠的步虛詞所繼承。
第十首
至真無所待, The utmost perfected rely on nothing;
時或轡飛龍。Yet at times, some take the reins of the flying dragons.
長齋㑹玄都, To gather in the Mystic Capital for a lengthy zhai;
鳴玉扣瓊鍾。Where they sound jade and strike the rose-gem bells.
十華諸僊集, The transcendents of the ten floriate [regions] assemble;
紫烟結成宫。Where purple mists cohere to form palaces.
寳盖羅太上, A canopy of treasured [gems] veils the Most High;
真人把芙蓉。As perfected beings hold lotus flowers.
散華陳我願, Scattering blossoms to present our vows;
握節徴魔王。Grasping a segmented [staff] to conscript demon kings.
法皷㑹群仙, As dharma drums assemble masses of transcendents;
靈唱靡不同。There are none who do not share in the numinous song.
無可無不可, Nothing acceptable, nothing unacceptable;
思與希微通。Thought penetrates indiscernible and imperceptible.
費博士指出這一終章呈現了元始天尊座前儀式的最後一個場景,其中的陳願是積累功德、修身度人的核心環節,有時需以靈寶齋為儀式背景進行。
四、步虛的神話敘事與其它靈寶經
除上述步虛經外,費博士篩選出了其它提及步虛場景的靈寶經。他提供了相關原始文獻資料的英譯並加以解釋。以下錄入他講座中提及的靈寶經,並解釋他強調的重點內容(即劃線部分)。
《元始五老赤書玉篇真文天書經》1.1b:元始鍊之於洞陽之舘,冶之於流火之庭,鮮其正文,瑩發光芒。洞陽氣赤,故號赤書。靈圖既煥,萬帝朝真,飛空步虛,旋行上宮,燒香散華,口詠靈章。 [The Celestial Worthy] of Primordial Commencement refined them in the Lodge of Cavernous Yang, cast them in the Halls of Flowing Fire, vivified their correct text, polishing and transmitting their luster afar. The qi of the Lodge of Cavernous Yang is scarlet, thus they are called scarlet writs. Once the Numinous Charts shimmer, the myriad thearchs pay court before the Perfected [Writs], soaring in the emptiness and pacing the void. They circle the upper palace, burning incense, scattering flowers, and chanting the numinous stanzas.
2.8a-b:靈寳玄都玉山,處於上天之中,七寳之樹,垂覆八方。有十方至真尊神、妙行真人,朝衛靈文於玉山之中,飛空步虛,誦詠洞章,旋行玉山一匝,諸天稱善。五億五萬五千五百五十五億重道,五億五萬五千五百五十五億萬,無鞅數至真大神,當靈寳大齋之日,莫不稽首,遙唱玉音。諸天伎樂,百千萬種,同會雲庭。當此之時,真樂乎哉!The Jade Mountain of the Mystical Capital of Numinous Treasure is situated within the Upper Heavens. [There], trees of seven treasures hang down to cover the eight directions. Revered Deities, the Utmost Perfected of the Ten Directions and the Perfected Beings of Wondrous Conduct go in audience and protect the Numinous Writs upon the Jade Mountain. They fly in the emptiness and pace the void, singing the Cavern Stanzas. Each time they circumambulate the Jade Mountain, all the heavens proclaim their excellence. On the Day of the Great Lingbao zhai, none among the 55,555,500,000,000 [deities that] esteem the Dao and the 555,555,000,000,000,000 unbridled numbers of Perfected and Great Deities fail to bow their heads, roving and singing the jade sounds. The dancers and musicians of all the heavens, numbering 1,000,000,000, join with them in the cloudy halls. What perfected music!
費博士解釋道,此二處的“飛空步虛”繼承了上清經對步虛場景的描述風格,但並不像上清步虛那樣遊行太空,而是直達玉京山。
《步虛經》1a-2a:玄都玉京山在三清之上,無色無塵。上有玉京金闕七寶玄臺紫微上宮,中有三寶神經。山之八方自然生七寶之樹,一方各生一株,八株彌滿八方,覆蓋諸天,色羅三界,為無上大羅天。太上無極虛皇天尊之治也。其山林宮室皆列諸天聖眾名籍。諸大聖、帝王、高仙、真人無鞅數眾,一月三朝其上,燒自然旃檀反生靈香,飛仙散花,旋繞七寶玄臺三周匝,誦詠空洞歌章。是時諸天奏樂,百千萬妓,雲璈朗徹,真妃齊唱而激節,仙童凜顏而清歌,玉女徐進而跰躚……放窈窕而流舞,翩翩詵詵而容裔也。山上七寶華林,光色煒熚,朱實璨爛,悉是金、銀、珠玉、水晶、琉璃、硨磲、碼瑙。靈風振之,其音自成宮啇,雅妙宛絕。諸天聞聲而飛騰,勿輟絃止歌,嘆味至音,不能名狀。神獸、龍、麟、獅子、白鶴、奇禽、鳳凰、悲鳴踊躍。太上震響法鼓,延賓瓊堂,安坐連花,講道靜真,清詠洞經,敷釋玄文,遠味布夷,喜動群仙。其時八風颺旛,香花交散,流煙蓊靄。The Jade Capitoline Mountain of the Mystic Metropolis is located above the Three Clarity [Heavens], where there is neither form (se 色) nor dust (chen 塵). Atop the mountain, there is the Upper Palace of Purple Tenuity on Mystic Terrace of Seven Treasures at the Golden Gatetowers of the Jade Capitol, wherein the divine scriptures of the Three Treasures are stored. Across the mountain in the eight directions are the trees of seven treasures that naturally grow there. In each direction one tree has grown, and the eight spread fully throughout the eight directions, covering all the heavens, their forms spread like a net over the three realms, forming the Supreme Grand Veil Heaven. This is where the Celestial Worthy of the Void Thearch of the Most High Limitless rules. The registers of all the throngs of celestial sages are arrayed in the palace chambers within the forests of this mountain. The unbridled numbers of great sages, thearch kings, lofty transcendents, and perfected beings pay court three times a month atop the mountain. They burn numinous incense of natural sandalwood for rebirth, and flying transcendents scatter flowers, as they circumambulate the Mystic Terrace of Seven Treasures three times while chanting and singing the songs and stanzas of the empty caverns. At this time, music sounds throughout all the heavens, as the cloudy aos of innumerable performers resonate clear and penetrating. Perfected consorts sing in concert, quickening the tempo; transcendent lads wear solemn expressions, singing clearly. Jade maidens deliberately advance, whirling and swirling…remain delicate and demure, dancing fluidly. All flutter and float in multitudes, as they gracefully glide about. The Splendid Forest of Seven Treasures sits atop the mountain, its radiant colors shimmering and shining, its vermillion fruits glittering and gleaming. All is gold, silver, pearled jade, crystal, beryl, nacre, and carnelian.75 Numinous winds shake them, and their sounds naturally form the gong and shang [tones]—refined, wondrous, graceful, and superb they are!76 The sounds can be heard throughout all the heavens, and even as the [divine beings] soar upward, they do not cease playing their stringed instrument or halt their singing. They praise and savor the supreme tones but are unable to describe them. Divine beasts—dragons, kirins, lions, white cranes, rare birds, and phoenixes—cry out with emotion and leap about. The Most High causes the dharma drums to tremble and resonate, inviting the guests to the Rose-Gem Hall, where he sits calmly upon a lotus flower. There, he elucidates the Dao and the perfection of stillness, clearly intones the cavern scriptures, expounds the mystic writings, extends their import great distances to the scattered foreign peoples, and delights and moves the masses of transcendents. At that time, the eight winds buffet the pennons, and incense and flowers mingle and scatter, as the drifting smoke forms thick clouds.
與前兩處類似,此處亦指向玉京山,詳細描述了玉京山上眾仙真朝拜元始天尊的場面。費博士認為前述之上清步虛是對昇空的一般性描述,相比之下,這一部分介紹的靈寶步虛更具儀式性。
五、神話與儀式實踐
靈寶齋是集體儀式,自出現後逐漸在道教儀式傳統中佔據核心地位。呂鵬志教授將古靈寶經《上元金籙簡文》的儀式解析為宿啟、行道、散壇言功的三重結構,這後來發展成為靈寶齋共有的基礎結構。費博士基於呂教授的研究成果,解讀《金籙簡文》中的步虛儀節,此儀節處於“行道”的末尾:
禮十方畢,次一時左轉,繞香燈三周。師誦步虛之章,弟子都門讚祝。三周,如玄臺法。尊卑相次,安徐雅步,調聲正氣,誦詠空洞之章。勿得顧盼,意念不專,遲速越錯,更相進卻。要量壇席廣狹為則,如壇席狹處,第二、第五、第八首旋繞散花,餘面經像作可也。 Once finished paying obeisance to the ten directions, then at that moment, turn left to circle round the incense burner three times. The master chants the stanzas of Pacing the Void, and the disciples stand at the capital gatesto announce their praise. [Circling] three times is like the ritual methods of the Mystic Terrace. Seniors and juniors should take up their respective order according to rank. Calmly and in an unhurried manner take dignified steps. Harmonize your sounds and rectify your qi to sing the stanzas of the Cavern Grotto. Do not glance about or let your intentions and thoughts waver, move too slowly or too quickly, get out of proper order or push one another forward or backward. You must take the measurements of the altar seat, whether [it will be situated within a] broad or narrow [ritual space] as the criteria [for the performance]. For example, if the altar seat is narrow, circumambulate and disperse flowers for the second, fifth, and eighth verses. For the remaining verses, you can face the scripture and images.
行道禮拜,皆當安徐雅歩,審整庠序,俯仰齊同,不得參差。巡行歩虚,皆執板當心。冬月不得拱心,夏月不得把扇。唯正身前向,臨目内視,存見太上在髙座上,注念玄眞,使心形同丹。合於天典,則爲飛仙之所嗟歎,三界之所軌範,鬼神之所具瞻也。不得左顧右盻,更相前却,及言語笑謔,有所呵喚,則觸忤威靈。四司紏過,五帝結刑,則科所禁,可不愼哉。 To walk the Dao and pay obeisance, you must all calmly and in an unhurried manner take dignified steps, examine and rectify [yourselves to remain] composed, lower and raise your heads together in accord, and you cannot [proceed] unevenly. As you make your circuits and pace the void, you should all hold your tablets to your chests; in the winter months, do not clasp your hands together, and in the summer months, do not hold a fan. You may only stand straight and face forward, casting your gaze inwards to actualize the appearance of the Most High upon the high seat. Concentrate your thoughts on the mystic perfected and make the heart and form similar to cinnabar. When the rites correspond to heaven’s standards,113 then they become that which flying transcendents esteem and admire, the [inhabitants] of the three realms deem the model, and that which ghosts and deities altogether regard with respect. Do not look left and or right, push one another forward or backward, or laugh and banter. If there is something to be censured, then you will offend the awesome spirits. The four directorates will denounce your faults, and the five thearchs sentence you to punishment. The standards and protocols indicate what is prohibited—how can you not heed them!
另一部重要的靈寶經《太極真人敷靈寶齋戒威儀諸經要訣》將步虛置於入齋堂、發爐、出官啟事、復爐、稱法位、三燒香三祝願、十方願念、禮十方等儀節之後,轉經之前。從步虛到轉經的過渡與神話敘事中仙真們的步虛場景一致。
費博士參考了勞格文(John Lagerwey)教授有關陸修靜《太上洞玄靈寶授度儀》的研究,認為陸氏編撰的靈寶傳授儀分為宿啟、傳度大盟、言功三個階段,這也是模仿了靈寶齋的儀式結構。步虛從屬於第二階段傳度大盟,類似於它在靈寶齋中的位置。步虛與禮經頌這兩種儀式音樂在傳度、盟誓之後奏響。此處的步虛詞不再複製仙界的步虛場景,僅是對傳度、盟誓的慶祝,這標志著儀式與神話敘事之間裂痕的出現。杜光庭的標準化朝儀與步虛詞也是如此。
六、結語
本講座以步虛為例,從儀式結構深入到講經、傳度等敘事背景,進而探索道經的生成過程。費博士認為以上對步虛的探討印證了李福(Gil Raz)教授關於道教儀式的理論,即中古道士們將不同功用的儀式整合進統一的宇宙觀框架下,在整合的過程中難以避免地賦予這些儀式全新的詮釋。因此,同一個儀式在不同背景下會有不同的意涵,同一個詞語的象征語義也會因具體的敘事和儀式背景而異。
以上是費博士的講座內容。講座後是評論和問答環節。
現將呂鵬志教授的英文評論轉譯如下:
“我認為費昭博士的研究至少有三個值得我們學習的優點:
一是費昭博士通過對步虛詞的深入研究揭示了中古道教與詩歌的密切關係。可能因為中古道教和中古詩歌這兩個領域的知識比較艱深,很難同時精通,國內外學術界研究中古道教和詩歌之關係的學者寥寥可數。費昭的導師柏夷教授是其中的佼佼者。費昭繼承了其業師的事業,在業師碩士論文步虛經研究的基礎上,對中古時代的步虛儀和步虛詞做了更加深入的研究。特別了不起的是他細讀並英譯註釋了道經和步虛詞中的若干疑難詞句,展示了他的紮實功底和嚴謹學風。
二是費昭博士對步虛儀式、步虛詞的形式和功能做了精細的分析,澄清了若干使人迷惑不解的問題,比如步虛與步罡有無差異,步虛的起源,上清經中的步虛與靈寶經中的步虛有何異同,步虛及步虛詞與靈寶齋有何關係,等等。
三是費昭博士視野開闊,能夠閱讀、參考和利用中、日、英、法文優秀研究論著,包括國內道教學者罕有人能讀懂和引用的法國賀碧來(Isabelle Robinet)的上清經研究巨著。總體來看,他的博士論文起點和水準很高。
當然,金無足赤,人無完人。費昭博士的研究也存在不足之處,我發現他對步虛儀的理解還存在一些誤漏。
先談遺漏或認識不足的地方。費昭用神話學的觀念來闡釋靈寶步虛儀的天上來源,這當然沒有問題。但他沒有講清楚步虛儀的性質、歸類和真正來源。古靈寶經作者聲稱,天上聖真會定期朝禮自然生成並經由元始天尊用流火赤氣煉成的靈寶天文,這個盛大的天上朝儀包括步虛、旋行、歌誦洞章、燒香散花、車駕、舞蹈等儀禮。也就是說,步虛屬於天上朝儀的一部分。南宋道教儀典《無上黃籙大齋立成儀》卷三十四‘釋步虛旋遶’條引用盛唐道士張萬福的話釋曰:‘諸天聖眾,朝時皆旋行,誦歌洞章,即《昇玄步虛章》。’即為其證。費博士的論文指出靈寶齋中的步虛儀節乃模仿天上聖真所行步虛儀節,但未指出步虛儀屬於天上朝儀的組成部分。根據我在論文 “Ordination Ranks in Medieval Daoism and the Classification of Daoist Rituals” 和我的待刊書稿《中古道教儀式研究》中所論證的,朝儀是中古時代道門最流行的五種基本儀式類型之一,它在各個經派或法位所列儀式名目中一直排在其他四種基本儀式類型——傳授儀、齋儀、醮儀、章儀——之前。可能因為唐代以來道教朝儀被合併入齋、醮等其他類型儀式中,獨立地位不顯,所以長期被道教學者所忽視。
以教外研究者的視角來看,我們會發現步虛和與步虛經常並行的旋行、燒香、散花、歌舞等儀節都屬於供養(梵語pūjā)儀式,它們的真正來源是印度宗教和佛教,這些禮儀在佛教入華之前的中國本土宗教中是見不到的。確切而言,靈寶步虛詞可以說是模仿佛教梵唄而創造的道教版梵唄。眾所周知,在漢傳佛教中,相對而言,轉經是以抑揚的聲調演唱佛經,而梵唄則是演唱經文中押韻的偈頌(陳志遠《六朝佛教史研究論集》,p. 221)。
再說認識有誤的地方。費昭在博士論文第二章中分析了靈寶齋中的步虛儀節, 第112頁列出了《太極真人敷靈寶齋戒威儀諸經要訣》的靈寶齋儀程序。若細讀這部經典,會發現費博士的論述有兩處錯誤:一是誤將十方願念和禮十方分成了兩個儀節,它們實際上是同一儀節的不同稱謂;二是遺漏了禮十方與步虛之間的‘禮四方’儀節,這個儀節在陸修靜《太上洞玄靈寶授度儀》中被稱為‘朝四極’。我猜測可能費博士未注意到《道藏》本《諸經要訣》提供的儀節間或雜有儀註,以致疏忽或被誤導。
最後,我想利用這個機會,與費昭博士進一步討論一下‘步虛’這個關鍵詞。我認為‘步虛’是與‘行道’近似的儀式術語,不能單從字面上理解。道書常用‘虛’字或與其意義相近的‘無’‘玄’‘空’等字表示‘道’或‘大道’的狀態。古靈寶經《本願大戒上品經》中的詩句‘大道洞玄虛’即為其例。在我看來,步虛就是修道的儀法之一,表示回歸於道或與道合一。行步虛儀法可以產生多種神奇功效,包括長生成仙、驅邪命魔等等。我還認為,從文體來看,步虛詞是遊仙詩和玄言詩的結合,‘步’與遊仙詩正相對應,‘虛’則與玄言詩對應。我想知道你是否同意我的這些看法。”
費博士感謝了呂教授對其研究的肯定,也贊同呂教授關於步虛仿自梵唄以及步虛意味著與道合真的觀點,並表示自己將在正在寫作的專著中進一步探討步虛詞、玄言詩與遊仙詩之間的模糊邊界和複雜關係。
在問答環節,華東師範大學羅爭鳴教授回憶自己在研究步虛詞時收集的大量道教和世俗材料,特別提到了任半塘的《唐聲詩》,他與費博士討論步虛到底意味著什麼。費博士重申了步虛的天界源頭。
西南交通大學吳楊教授就步虛在靈寶經中的儀式化提問,並對步虛源於梵唄論提出質疑。吳教授回憶起Stephen West教授關於元曲在明代通俗化的理論,指出步虛詞的作者和讀者不僅是道士,詢問步虛詞通俗化的過程。費博士回應說,相較於秘傳的部分,步虛、旋行等是儀式中可見的節次,是佛、道兩教可見的共通之處,並指出庾信是步虛詞轉向教外的開始。
西南交通大學博士生張晨坤求教:“您在博士論文第一章中探討了上清經中的步虛概念,其中參考引用了《漢武帝內傳》中上元夫人歌唱的‘步玄之曲’。眾所周知,《漢武帝內傳》是時代晚於早期上清經的傳記小說,其中記述的一些故事情節和宴會詩歌借用了上清諸真傳之一《茅君內傳》。例如,西王母宴請漢武帝時歌唱的兩首‘玄雲之曲’也見於《茅君內傳》。請問您是否認為《茅君內傳》中的‘玄雲之曲’是與‘步玄之曲’相近似的步虛詞?”費博士答“曲”與詞不同,此曲需反覆吟誦,但其儀式和敘事背景很難弄清。
因時間有限,講座至此圓滿結束。呂鵬志教授向費昭博士致謝,並請他在講座之後通過電郵回答其他聽眾提出的問題。
(供稿:呂陳童 )