本文從白居易詩中頻繁出現的「無事」題旨入手，探討其閑適詩作與洪州禪的精神關聯。文中提出：洪州禪師所謂「無事」，乃強調在日常生活而外再無一特別的佛事，以令個體自「差別相」中解脫。而其所用以指陳日常生活的事情竟不避鄙俗，完全抹殺了宗教生活的彼岸性和神聖性。在此，涅槃與煩惱，聖與凡，佛與眾生不二，世俗化與絕對化等一。由此，白居易的「閑適」之趣與王、孟彰顯清靜的幽閑、幽玄之趣並不相同，它滲透著與洪州禪情調一致的世俗性和日常性。白詩時而亦有一種絮刮的性質，極與抒情詩之「強化」性質不相稱。而能令白居易超越散文的絮刮性質的，又恰恰是其受禪宗思想影響的另一面，即擺脫生死、聚散、一身的窮通的看空物、我。隨之而來是面對花開葉落的哀樂不入，心如止水的境界，從詩學而言，即對「感物」傳統的突破。此即中唐後流行於禪門的《楞嚴經》所說的「不為物所轉」。本章最後從白氏將生活般若的脈絡下探討其晚年居洛以小園生活為題材的詩作。白氏將生活的般若化，發展為於事事「無事」、處處無礙、無可無不可的人生態度，雙遮雙詮的、即非的詭辭。在吟詠小園生活之時，他一方面沾沾於惟小園纔有的冢庭的日常生活性質，另一方面，其生活的般若卻又要他於此亦不落邊見。以「能轉物」的「遊戲三昧」和佛家「芥子納須彌」的空間觀念，白氏在園詩中創造了「澄瀾方丈若萬頃，倒影咫尺如千尋」的「意」中山水。此一獨得獨識的意境，不僅超越了依社會「智識性」體系所確立的「感物」和「聯類」傳統，也超越了王維輞川詩只擷取觸目當下之景的「現量境」。

Starting with observing a recurrent theme, "unconcerned," in Bai Juyi's poetry, this essay explores the spiritual relationship between Bai's poetry of leisure and the Hongzhou school of Chan. The author contends that the so-called "unconcerned" condition advocated by Hongzhou Chan Masters is a way to highlight that there is no special concern in being a Buddhist apart from daily-life activities. For them, nirvana (average) and kleśa, sage and ordinary people, Buddha and myriad lives are not dichotomous: the secular and the absolute are identical to each other. In this regard, Bai's poetry of leisure also has a chattering feature not consonant with the "intensification" of lyric poetry. Paradoxically, what leads Bai to transcend the above feature is also an impact he received from Chan, that is, to view both self and world as śunya (average) and make the mind like peaceful water to face changes in the world. This follows a breakthrough from the traditional lyric formula of stirring-and-response, a breakthrough that could be taken as a realization of the Buddhist tenet of "not being turned by objects" from the Lengyan Sutra (average) which prevailed in mid-Tang Chan circles. Finally, from the context of prajna (average) carried out in daily life, the essay discusses Bai's poetry based on the life within his own small garden. The author argues that the so-called prajna (average) carried out in daily life developed by the poet into an "unconcerned" attitude toward every issue paradoxically denies and confirms both options. In writing about his life, on the one hand, he is satisfied with the family daily-life activities provided only by this small sphere; on the other hand, prajna (average) also ensures he does not exclusively fall into this one option. By another tenet of the Lengyan Sutra (average), playfully "being able to turn the objects," and the Buddhist concept "Mount Sumeru within a mustard seed," Bai creates a landscape within the garden through his mind in which a pond of water looks like a great lake and a piece of rock a high mountain. This poetic sphere of mind caught only by the poet himself not only transcends a lyric tradition of "stirring-and-response" and "categorical associations" based on society's system of knowledge, but also surpasses the inscape of pratyaksa of Wang Wei's "Wangchuan" poetry, which impressionistically takes only the here-and-now scenery as its lyric vision.