程抱一（François Cheng）為來自中國定居法國的詩人、作家、翻譯家、評論家，其早期中文著作集中於法國詩詞、文學作品的介紹與評論，1975 年後的法文著作則著眼於中國詩詞語言、人文藝術思想層面的解構分析。 2002 年程抱一獲選為法國法蘭西學院（Académie française）首位華裔院士，為其長期致力於中、法學術文化交流的一項肯定。《天一言》為程抱一投注 12 年心力不斷構思與修正，融合其一生理念的作品，然而，針對此部小說「陰、陽」虛實觀的分析研究，在國內學界仍顯得方興未艾。由於有關道家的虛實定義，已有諸多探討與研究，只是，本文暫且不從定義著墨，而採用文本分析方法，同時對照比較程抱一其他部詩集與小說，擬從跨文本的「虛 實」視角，探究程抱一如何在《天一言》文本中，透過女性角色和自然元素的途徑，建構其主張的虛實觀。首先試圖論述女性角色扮演的沖虛之氣，並藉由與自然萬物的對話，解構植物、山、石、泥土等，在虛實框架中所象徵的循環符碼，最後，析論如何透過河流的象徵意涵書寫達到虛實之道的最高境界－永恆，希冀藉此闡釋程抱一創作《天一言》的初衷，進而再現其穩固 且匯通的個人思想體系。

　　François Cheng is a Chinese-French poet, writer, translator, critic, whose early works focused on introducing French poetry and literature, while his main works after 1975 on analyzing Chinese poetry, and arts. François Cheng was elected as “Académicien français”, the first one between Chinese, in 2002, which is a highly appreciated for his contribution in Chinese-French cultures. François Cheng spent 12 years on plotting 《Le Dit de Tianyi》, which could be considered as his life work, however, the essential notions of yin/ yang, Empty/Full referred in this novel were less discussed particularly in Taiwan. This paper will apply the text analysis methodology to reflect upon the relation between Empty/Full in Taoism and the novel through the perspectives of feminine characters, nature elements, and writing atonement. Thus, this paper will first discuss the Mediation rule in females, and then try to deconstruct the symbols of plants, mountains, rocks, earths and rivers, by communicating with Nature. Finally, this paper will discuss how to reach Eternity through the living process of forgiveness and writing. The purposes of this paper are to broaden François Cheng’s analysis of Empty/Full by paying attention to the internal dynamics of《Le Dit de Tianyi》 leading to his understanding of self-cultivation in Taoism and furthermore, to represent his important cross-cultural ideology.