批判與繼承：星雲法師《無聲息的歌唱》之創作義蘊及人間佛教理念=Critique and Inheritance: The Creative Implication and the Idea of Humanistic Buddhism in Bells, Gongs and Wooden Fish by Venerable Master Hsing Yun
Venerable Master Hsing Yun’s first work is Bells, Gongs and Wooden Fish. He used two kinds of literary forms, poetry and prose, to interact with each other. Master Hsing Yun showed his idea of Humanistic Buddhism through different kinds of dharma instruments to deal with the Buddhist problems: Marginalized Buddhism, Deificated Buddha, and Secularized Sangha. In particular, he criticized the secularized sangha the harshest, showing his consciousness of Dharma-Ending Period. The implication of his critics was to wake the secularized sangha about the cognition of the meaning of ordination and the care of the survival of Buddhism. He expected sangha could inherit the spirit of Buddha so that they could gradually modify the phenomenon of Deificated Buddha and Marginalized Buddhism, and eventually it would achieve the goal of the Buddhist Revival. In order to reach this goal, he appealed to the Buddhists to return to the fundamental dharma of Buddhism and follow the merits of Buddha. To bring the Dharma and Buddha back to the human world, he emphasized the importance of the qualifications of Buddhist missionaries and the appropriate ways of preaching. This thesis explores the creative literary idea and the creative consciousness of Master Hsing Yun through analyzing the genre, the rhetoric and the connotations in Bells, Gongs and Wooden Fish, and expects to get more comprehensive understanding of the early ideas of Humanistic Buddhism of Master Hsing Yun by the Intertextual Analysis of his early works.
