老莊的實到空驗難以概念語言傳達，一旦表達便要考慮如何不落入對象化的膠著，為了克服道與言的背反困境，不得不有語言的抄用創發，如此便有詩性障喻的發明。本文認為老莊的關面表達並非修辭層次，也不只是知前晶層次的認知，它具有開擷道的存有論意義，道的流動本性決定了它的語言朗現模式，所以道言自然是隱瞞模式C道開擷湧現的歷程便是不斷跨域、互濤、融攝的氣化運動，這正是隱喻的基本精神，可說道是隱喻的存有論基礎，而語言跨域現象得以自然而然地進行，正因世界本來就是氧化融貫相合相攝的天賴世界，所以語言的隱喻現象反映了世界的物化現象、人心的避戲現象。本文試圖論誼:道和隱喻的同質性。其次，本文認為有關老莊的翼翼之道不日隱喻之道，在思維方式和意象晶罩上，一方面承慣于闢思維的跨域融合之隱時精神，另一方面也避開了障喻被實體化的陷阱。最後，本文說明者莊如何透過具體音象來做馬來源域，透過這些原型意象而使人們對抽象玄遠的道(目標域)，得到親切的意義映射。這些分殊的具體音象之來源域，共同映射出道的意蘊，也因為經由多元物象的映射過程，促使人們對道的無盡藏意蘊有了情意性的觸�o萬物成為道的肉身化隱時，這是一個「道法自然」的力穎、聖領世界，自然萬物成為道的最佳隱喻。

Lao Zi and Zhuang Zi's mystic且I ex periences can only be ex pre ssed without being objectified so it is difficult to develop them intoconcepts or convey them via languages. In order to overcome the opposition between the Tao and languages， Lao Zi and Zhuang Zi invented an intricatelanguage form: the poetic metaphor. This metaphorical expression cannot be
understood as rhetoric or knowledge but a medium for expressing the Tao's existentialist meaning. Since the Tao's flowing character determines its linguistic manifestation， this paper attempts to theorize the similarity between the Tao and metaphors. Lao Zi and Zhu且ng Zi's metaphors with mysticism succeeded the use of metaphor in Chinese mythology， which integrated many different fields when avoiding embodying the metaphors. By using concrete images as prototypes (the source realm) to indicate the meaning of the abstract Tao (the target realm)， Lao Zi and Zhuang Zi enable readers的 contact the infinity of the Tao emotionally.