「妙玉坐禪」是《紅樓夢》極重要的關目。「欲潔何曾潔，云空未必空」的妙玉，其存在僵局乃緣自迫切世界和超越世界的尷尬衝突，反覆糾纏，往往示現為：有限肉身之陷溺下墜與無窮悲願之幻滅空無。「坐禪」實為渴望「超越」的行動，可是當透過重重修鍊也無法驅被所謂的「魔障」時，反倒造成更大的齷齪感。《紅樓夢》以「入空門帶髮修行」的矛盾形象摹寫妙玉，她的孤傲、詭誕、好高、過潔，徒然反襯其一再身心不同步的斷裂之苦，保護卻同時拘押她的「櫳翠庵」，自然也可視為俗世兒女的禮法象徵。走火入魔以致遭劫的「終限泥淖」，當不僅是事與願違的表層反諷，極可能是聖俗和善惡、上升與下墜，同源共生的永恆預告。僵局，是無法回歸的永劫之旅？抑是脫困必經之路？整個「妙玉事件」，透過藝術技巧的「時空距離化」，已經過濾掉其中可怖戰慄的質素，越過寫實的層次，蒸餾出美與暗示的象喻。歷來《紅樓夢》的讀者對書中有關妙玉的情節，都很熟悉，也由於這樣普遍的熟悉感，使我們在重新討論它時，感情的激動會較讓位於心智的況思，但並不意謂後者得以凌駕或取代前者。當楊牧(1940-)運用前人已有的「妙玉坐禪」的素材「改寫」成詩篇時，最富美學價值所在的是：內容沉沒下去，形式浮現出來。歷來論者對「妙玉」的關注並不多，遠不及釵黛之流；此一看似邊緣性的角色，其「坐禪」前後的身心異化，與及相伴衍生的普世性議題，其實仍然還有值得論述的空間。問世於十八世紀的《紅樓夢》，與成篇於1985年的楊牧的〈妙玉坐禪〉，兩者應有歷史語境的先後關係，但又不止於「先後傳承」的關係，又然還相互衍繹。本文嘗試以詩美學的角度，考索其中傳承與變異的軌跡；並間探德勒茲(Deleuze), Gilles l925~1995)「游牧精神」的的觀點，以期提出一個新的思考面向，關懷生命「慾望」流竄的本質。

The paragraph of "Miao-Yu's Meditation" is crucial in The Dream of the Red Chamber. Miao-Yu, who fails to be purified, has struggled from the conflict of the reality and transcendence; that is, tge decline of the flesh and the destruction of the infinite prayer. When the path to transcendence is blocked, the trial based on "Meditation" becomes bigger frustration. In The Dream of the Red Chamber, Miao-Yu practices practises Buddism with her hair. She is so isolated, eccentric that she cannot escape from conflict between the body and the soul. The Long Tsuei Nunnery is not only her shelter but prison, which symbolizes the secular manners. Her ultimate calamity implies the separation of reality and wish as well as an eternal prediction about the co-existence of good and devil and of transcendence and decline. Does the impasse represent a journey of no return or the path to relief? The distancing effect (time and space) in Miao-Yu's event filters the terrifying element and extract the metaphor of beauty. In terms of the familiarity of plots of Miao-Yu, reader's rational contemplation goes beyond emotional movement; yet, it does not mean that the former replaces or represses the latter. Yang-Mu's adaptation of "Meditation of Miao-Yu" sinks the content and reveals the form. The attention paid to Miao-Yu has always been less than that t Bao-Chai and Dai-Yu; however, the separation of body and soul after "Meditation" offers, in fact, much room for discussion. In addition to the historical relationship of the context, the eighteenth-century masterpiece The Dream of the Red Chamber and Meditation of Miao-Yu, published in 1985, also interpret each other. Based on poetics, this article aims, in the first place, to explore the track linking two pieces and, referring to "Nomadism" of Deleuze (Gilles Deleuze, 1925~1995), to open a new way of reading relating to the deep concern for the connection of the subject and the object.