《無聲息的歌唱》作為星雲法師第一部佛教文學創作，其散文與詩的兩種文體交互映照，兩種文體互相呼應，呈顯不同的文學趣味。在書中星雲法師借物言志，以對治當時的佛教邊緣化、佛陀神格化及僧眾流俗化的問題，其中對僧眾流俗化的批判尤為嚴厲，呈顯他對末法時流的憂患意識。批判僧眾的背後實際上是期許喚起僧眾對出家本意的認知與對佛教存亡的關懷，期望藉由僧眾對佛教精神的繼承次第對治佛陀神格化與佛教邊緣化的問題以達到佛教復興的目標，因而提出回歸佛教根本法義與佛陀人間德範為一切僧格行誼的準則，並且為使佛法與佛陀回到人間，弘法者的條件與弘法方式作為關鍵，由此推動佛教復興。本文透過探討星雲法師《無聲息的歌唱》的體裁、修辭與其中蘊含的創作義蘊，及藉由星雲法師所處的時代背景的歷史參照，探索其文學創作的理念與其創作意識，並採取互文參照法以對星雲法師青年時期的人間佛教思想有更全面的理解。 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.
