本文嘗試建立《莊子》「與世俗處」的理論基礎及實踐策略，俾使讀者 能循此脈絡在莊書中發現具有啟發性的線索。本文透過分析莊書中支離疏 （理想人物的象徵／體道者）與人臣（非理想人物的象徵／有成心者）的活 動特性，一方面突顯「成心」形塑人的內心與身體特性，另一方面彰顯不為 成心束縛的內心與身體特性。有成心者受限於世俗規範而以「人亦無疵」為 目的，體道者則跳脫成心限制，得以在己身所處的生存脈絡中實現最適合自 己的生命型態。體道者的活動幅度大而不具特定模式，體現一種彈性與創造 性；有成心者的活動幅度小而依循特定模式，體現一種僵固性與規律性。讀 《莊》以自我轉化，關鍵在於不受限於成心、具體展現彈性的處世之道。「擬 道之勢」是一個輔助策略：透過模仿體道者大而不具特定模式的活動幅度， 修道者得以反省自身為成心所約束的一面，並體現彈性（就與人互動而言） 與創造性（就自我實現而言）

This article shall explicate the theory and praxis of how to live with others under conventional norms in the Zhuangzi. The theoretical aspect is explicated by analyzing the amplitudinal quality of the movements performed by two types of characters─a bodily deformed figure (the ideal person) and a ritually formed figure (his foil). The main difference between the two is the absence of chengxin (成心，the completed heart-mind) in the former and its presence in the latter. A person restricted by chengxin adheres strictly to conventional norms in order to avoid criticism. By contrast, a person not restricted by chengxin deals with these norms in an adaptive and creative manner. Because of this difference, the movements of a person restricted by chengxin have a narrow amplitude, and so they exhibit inflexibility and stubbornness, while the movements of the ideal person have a wide amplitude and therefore manifest flexibility and creativity. The key to self-transformation is, then, to live without the restriction of chengxin, to concretely exhibit such flexibility concerning norms. To approximate such a state, one can adopt the practical strategy of what I call “Dao-embodying posing”. Roughly put, in imitating the wide amplitude manifested in the movements of the ideal person, one gains flexibility in social interaction and creativity in one’s own life.

莊子、自我轉化、成心、活動幅度、實踐

Zhuangzi, self-transformation, chengxin, amplitude, praxis