戴天, “岣嵝山论辩”

Dai Tian is encroaching on old territory here. Once the Daoism starts to come through, in lines like:

问题是什么

是山

你说到底

存在还是不存在

道理是什么

是有还是没有

是名词还是

实质

Then it isn't so very hard to jump immediately to Messrs. Ouyang and Su, respectively:

平山阑槛倚晴空。山色有无中。手种堂前垂柳，别来几度春风。文章太守，挥毫万字，一饮千钟。行乐直须年少，尊前看取衰翁。

落日绣帘卷，亭下水连空。知君为我，新作窗户湿青红。长记平山堂上，敧枕江南烟雨，渺渺没孤鸿。认得醉翁语，山色有无中。一千顷，都镜净，倒碧峰。忽然浪起，掀舞一叶白头翁。堪笑兰台公子，未解庄生天籁，刚道有雌雄。一点浩然气，千里快哉风。

Does writing in the vernacular really mean that one has to substitute the prolix "存在还是不存在" for the concise "有无中"? The latter is hardly out of bounds, linguistically, for any competent contemporary speaker of Chinese. But, of course, this is a problem compounded by the subject of the poem. Not only, apparently, "Which is the real Mt. Goulou if they both look the same?" but also, "Is the substance of my Daoist-experience-of-the-mountain functionally equivalent to those of the Song lyricists, when I no longer can (or at least choose to) express it in the same words?" Perhaps this is part of the point here: what is the complaint against prolixity anyway, that it is non-signifying? Hmmm…"Neo-Song Postmodern"?