詮構莊子之「道術圖像」及其「以言顯道」的當世之用

The Interpretation and deconstruction of the Zhuangzi's ''Tao and Shu image'' and its contemporary application of ''manifesting Tao through words''

本文結構，首先描繪莊子認為「古之人，其知有所至矣」，處於「有未始有夫未始有無也者」的日用不知、無以言喻之「道未始有封、言未始有常」場景，展現莊子所嚮往齊物無別的「道術圖像」之渾然勝義；其次，論述在莊子之世，此渾然勝義的「道術圖像」已被曲士所裂，轉為「道隱於小成，言隱於榮華」之日以言喻，卻難知「道術為用」的悲景，致使上古渾然勝義淪為「與接為搆，日以心鬬」、「與物相刃相靡」的關鍵轉折，在此種氛圍下，一察曲士終不免落入因「逐言離道」而造成「苶然疲役而不知其所歸」之窘境；最後，莊子面臨此種窘境雖有所警覺，然亦意識到上古之「道術圖像」實有因時制宜的必要性，是以他將泯除彼是相對思維之「道樞」概念，融入「三言」的言說表達方式當中，作為回應時代窘境之替代方案，使其所言具有「無針鋒相對」、「無全屬無稽」及「無執滯爭辯」的特點，來重構自我心境上的「道術圖像」，讓渾然勝義亦可在當世的己身得到充分映現，以顯發「道術圖像」得以被不斷「返本開新」的豐富意涵。由此可見，莊子著書十餘萬言之用意，主要係將上古渾然勝義的「道術圖像」，融入道樞「三言」之中以復返於其所處時代情境，藉此開展出「以言顯道卻不落言辯」的當世之用。

This article consists of three parts to interpret the contemporary application of Zhuangzi's ''manifesting the Tao through Three Words.'' In the first part, the author draws the conclusion that Tao and Shu are one at that time through Zhuangzi's analysis of the Tao(the laws of the universe) and Shu(the way of life) in ancient society, and calls this Zhuangzi's ''Tao and Shu image''. Furthermore, Zhuangzi mentioned that in his time of growth, Tao and Shu had been separated, and the unified ''Tao and Shu image'' no longer existed. Scholars focused on the pursuit of ''Shu'' and ignored the value of ''Tao''. In the last part, the author interprets how Zhuangzi reconstructs the ''Tao Shu image''. Zhuangzi realizes that ''Shu'' cannot be abandoned in this era, so the reconstruction of the meaning of ''Tao'' still needs to be done through ''Shu''. Zhuangzi uses ''three words''(Lodged Word, Weighted Word, Goblet Word) as the ''pivot of Tao'' to reconstruct the value of ''Tao''. His ''three words'' can be adapted to the time, place and people, and can avoid falling into the dilemma of tit-for-tat and endless disputes during the discussion process, and can develop the contemporary application of ''manifesting Tao with three words''.