本文在有關時間的思索乃阮籍「憂生之嗟」之基本視域這一論點基礎上，討論《詠懷詩》對抒情傳統時觀之開拓。文章以阮氏易學為起點，通過與屈賦時觀之比較，將其時觀的出發點概括為：阮氏已非一般地「歎逝」，而是「知懼」於宇宙時間中「質的變化」。由《易》各卦所代表的「特定時系」之「時義」觀念，既令阮氏肯認制約着個人生命的階段決定論，又使之堅持「道不可逆，德不可拂也」的立場，從而表現出對基於宿命信念的「現實原則」和道德理念的雙邊執取。由此，文章轉入對阮詩三類時相的討論：阮籍因藉《周易》時觀觀照其所處時代，對未來持一有限之悲觀論，然惟直面未來之無望，其作為抒情詩人，卻又超越了《周易》朝向未來之時觀，發現出生命價值在於由情愛所珍攝的當下心境；阮詩之援引古事，則體現了《周易》中情勢超越時間表象而進入原型的本質。文章總結阮籍為屈原之後再一次深刻地創造了「詩的時間」的詩人。即，阮籍超越了自及時的官能快樂去肯定生命片刻的傳統，而由自心境、特別是自情愛去珍攝生命片刻的意識提出了新的詩學觀念，并逗啟了郭象時觀。而由阮籍為克服純以古事為「象」而強調的「空間意象」，由其自易學而生的對於一次性生命時間與循環往復宇宙時間差比之敏感，中國詩歌產生出弔古傳統，即以歷史之維，賦當下即目的河山以更深的「空間」、更「立體的」時間。

Based on the premise that thinking about time is the essential horizon for Ruan Ji's “amentation of life,” this article explores how Ruan opened up a new vision of time for Chinese lyricism through his Poems of My Cares. Taking Ruan's study on The Zhouyi (The Book of Changes) as the ground for discussion, this article compares Ruan's view of time with that of Qu Yuan and shows that Ruan adopted a paradoxical stance. On the one hand, unlike his predecessors, Ruan not only lamented the quantitative passage of time but also worried about some “determined qualitative changes” in time, a concept which was derived from the “given temporal schemata” of the 64 hexagrams of The Zhouyi. On the other hand, Ruan's study of The Zhouyi also led him to cling to a moral obligation even in the face of difficult circumstances. In combining the two aforementioned aspects, the poet espoused a persistent belief in both a “reality principle” (based on a “imited fatalistic belief”) and a moral principle. This article then discusses three kinds of time in Ruan's My Cares. Through the lens of The Zhouyi, Ruan viewed the future of his world as compartmentalized and pessimistic. However, because he confronted the hopelessness of the future, the lyric poet was able to transcend The Zhouyi's view of temporal progression toward the future and rediscover the real value of life in the momentary mood of the present, particularly as expressed in treasured human love. By alluding to the past, his poetry embodied the transcendence of original substance to its archetypal realm found within The Zhouyi. The article concludes that Ruan Ji was a poet who recreated lyric time once again, following the precedent set by Qu Yuan. In transcending his predecessors, Ruan advanced a new concept of lyricism that re-defined the value of individual life in terms of momentary mood and, in particular, in terms of love instead of sensual pleasures. As a thinker, Ruan also foreshadowed Guo Xiang's concept of time. Ruan highlighted “images of space” as compensation for using the past merely as an image. In so doing, with his recognition of the difference between the time of an individual life and that of the cosmos, he created a new tradition of diaogu (meditation on the past) in Chinese lyricism. This new tradition endowed the landscape with a historical dimension, namely, a deeper conception of space and a more three-dimensional notion of time.