本篇探討陶淵明「但識琴中趣，何勞絃上音」的“琴中趣”，就以往各家對陶淵明“琴中趣”的說法做一個整理，分成（一）、“無聲勝有聲”之說、（二）同於儒家的“無聲之樂”、（三）以佛理釋之、（四）用道家“有無”之說釋之、（五）用“自然”之說釋之、（六）從政治角度解之、等六部份。再從（一）琴與道、（二）文人與音樂、（三）文人與琴三方面，對陶淵明的“琴中趣”重新加以探測，以深究陶淵明的“琴心”；進而對陶淵明的生活與思想有更深刻的瞭解。

　　　　　This paper is a study on Tao, Yuan-Ming,s delight on the Chinese lute according to his poetic line: "feeling the delight of Chinese lute, I do not have to know its music." Firstly, I assort all studies on this poetic line in the past as follows: (1) The view that silence is better then sound (2) The view that Tao, Yuan-Min's attitude on the music of silence is the same as that of Confucian's (3) The view fram the aspect of Buddhism (4) The view from Taosim's "Have" and "Have not" (5) The view from the aspect of nature (6) The view from the aspect of politics Secondly I would like to reinvestigate this poetic line from three points in order to dig into Tao, Yuan-Min's musical soul by which we may know better his life and thought: (1) Lute and Thought (2) Man of Letters and Music (3) Man of Letters and Lute