An Exploration of Chinese Zhuangzi Philosophy of Chen Guying (Part 2)

When the great Peng bird "ascends on a whirlwind," it must have the wind as its foundation; otherwise, like water overturned in a hollow, the vessel it can carry would probably be no larger than a mustard seed. If one were to attempt to place a vessel as large as a cup in it, it might become stuck and grounded. Therefore, the Peng bird, which "flaps its wings on the water for 3000 li. Then it ascends on a whirlwind 90,000 li," requires a whirlwind strong enough to bear its great wings in order to soar freely beyond the seas.

With the soaring flight of the Kun and Peng, it instantly unfolds our realm of existence and spiritual domain, providing us with an infinite cosmic perspective and liberating our spirits from corporeal constraints. When the spirit transcends the body, the "mind" is no longer confined within narrow physical bounds.

In addition to the "infinity" and "magnitude" of the universe and time-space, the allegory of the Kun and Peng also brings out another point for consideration: the importance of environment, including subjective effort.

Without the vastness of the North Sea, this giant Kun fish could not have been nurtured, and without the expansive sky, where fish leap in the sea and birds fly in the sky, Kun and Peng could not have been cultivated in a cultural desert. Therefore, the environment is crucial; however, individuals must also actively create. "The accumulation of water; if it be not great," there must be substantial effort, waiting for the wind, and seizing opportunities. Thus, in the journey of life, one must first be a Kun before becoming a Peng, first undergoing the "hidden dragon, do not act" of deep accumulation and then being able to "the flying dragon in the sky."

Open-Mindedness and Multilateral Thinking

Through the allegory of Kun and Peng, Zhuangzi expands our mental horizons and opens up our spiritual realm. Beyond the realm of "accumulation leads to greatness," he also promotes an open-minded approach and multilateral thinking, broadening our "vision." For instance, the visual perspective from the ground, the underwater view like the seabed, or the aerial view from high above, akin to Su Dongpo's poem: "When I look at the mountain ridge, it seems like peaks; near or far, high or low, all perspectives differ. Unable to recognize the true face of Mount Lu, only because I'm within its embrace." Viewing horizontally, viewing from the side, one row of ridges, one solitary peak, viewing from high, from far, from near, all vary. This concept is termed perspectivism, the idea that different perspectives yield different answers when examining a problem.

Thus, the allegory of Kun and Peng leads us to an important philosophical concept: perspectivism. When viewed from Huizi's perspective, he deemed the gourd too large and useless for scooping water, yet Zhuangzi suggested, "Why not make it into a boat?" Different things, different uses; something seemingly large and useless, discarded, can find utility in being repurposed, which fascinated Heidegger. However, in today's pragmatic era, pursuits such as literature or philosophy are often questioned for their monetary value. For example, literature majors are asked how much they can earn, or those engaging in romantic relationships or studying philosophy are queried on what they can do. Indeed, when viewed from a utilitarian standpoint, one may wonder about the practical applications of literature or philosophy. Thus, different perspectives lead to different viewpoints.

So what kind of perspective can "perspectivism" offer us? Zhuangzi often explores perspectivism from an experiential or dialectical standpoint, which can break us free from our self-centered biases. Many things do not have only one viewpoint; different angles yield different opinions and answers. Thus, in Zhuangzi's "The Seal of Virtue Complete," it's stated: "As they differ, we see them to be different, (as for instance) the liver and the gall, or Chu kingdom and Yue state; when we look at them, as they agree, we see them all to be a unity." Therefore, the Peng bird's soaring flight represents a different perspective, allowing us to see everything as a whole and unified. Consequently, the allegory of Kun and Peng can be interpreted from multiple angles. Quoting Russell, who once said that just as our bodies need food, our minds also need nourishment, philosophy serves as food for the mind. Philosophy often begins by breaking free from conventional concepts and habits, expanding the boundaries of the self. Thus, Zhuangzi's perspective of infinity can broaden people's mental horizons, moving from self-awareness to awareness of the external world and the universe, extending consciousness beyond the vast realm of the non-self. Therefore, whether in "Enjoyment in Untroubled Ease " or in the "Zhuangzi," it often encourages us not to confine ourselves to the realm of everyday existence but to approach problems and thoughts with a broader perspective. Free and Easy Wandering aims to embrace the broad vision and open-mindedness of the Peng, and then to wander endlessly.

The Harmony of Individuality within Universality - The Spirit of Mutual Respect and Mutual Enrichment

In "Zhuangzi: The Adjustment of Controversies," there's a story where Zhuang Zhou dreamt he was a butterfly. Upon waking, the vividness of his experience as a butterfly left him questioning: Was he originally Zhuang Zhou dreaming of being a butterfly, or was it now a butterfly dreaming of being Zhuang Zhou? He deeply realized that Zhuang Zhou and the butterfly were merely different forms, an illustration of what he called the Transformation of Things. In reality, they are both manifestations of the same true self undergoing transformations. Similarly, all things in the universe continuously participate in the grand flux of transformation. Yet, when immersed in dreams, one fails to recognize them as such. From this perspective, the essence of the true self does not change with the transformation of forms. If our spirits can transcend physical limitations, we can comprehend the spiritual freedom of being interconnected with Heaven, Earth, and all things as one. In this state, distinctions between self and other, or between objects, vanish. Why confine the spirit within the confines of the body when it can roam freely in an unbounded realm?

So, what is the spirit of "equality" among things? Zhuangzi asserts, "Everything has its inherent character and its proper capability. There is nothing which has not these." Each individual, each "thing," possesses its unique character, its essence of being, and is capable of value judgments. Therefore, no one lacks their strengths, their meaning, or value. Zhuangzi further says: "a loathsome (leper) and (a beauty like) Xi Shi, things large and things insecure, things crafty and things strange; they may in the light of the Dao all be reduced to the same category (of opinion about them)." Even though every object is vastly different, within the unity of the whole, communication and mutual understanding can be achieved. Moreover, from the perspective of the Dao's holistic view, one can understand that each entity can communicate with one another. Thus, there's no need to cling stubbornly to one's own prejudices but instead rely on the diverse abilities of individuals and objects, allowing each to fulfill its function. From the perspective of individual differences, things may appear strange and varied. However, when viewed from the wholeness, each thing can manifest its uniqueness and function. Zhuangzi believes that the harmony of individuality within universality is a manifestation of the spirit of mutual respect and mutual enrichment, which is the essence of the spirit of "equality" among things.

In "The Adjustment of Controversies," there's an example involving Nie Que and Wang Ni:
Nie Que asks Wang Ni, "Do you know if there is a common standard for all things?"
And in the fable of Nie Que questioning Wang Ni in "The Adjustment of Controversies," known as the "one question with three unknowns":
Nie Que asks Wang Ni, "Do you know if there is a common standard for all things?"
Wang Ni replies, "How would I know?"
Nie Que continues, "Do you know the things that you don't know?"
Wang Ni responds, "How would I know?"
Nie Que persists, "If so, then is it possible that nothing is known about all things?"
Wang Ni says, "How would I know?" Nevertheless, despite this, I'll try to explain, because how can I know that what I say is unknowable? And how can I know that what I say is unknowable is not known? So he continues, "When a man sleeps in a damp place, he will have a pain in his loins, and half his body will be as if it were dead; but will it be so with an eel? If he lives in a tree, he will be frightened and all in a tremble; but will it be so with a monkey? And does any one of the three know his right place?" People's bodies are affected by dampness, causing illness, but what about eels? Climbing high trees, people will feel fear and tremble, but what about monkeys? Therefore, can anything in the natural universe be absolute?

What Zhuangzi reflected on over two thousand years ago was the human ego-centrism, not just on an individual level but also on a collective level. He viewed all things from a broader perspective, believing that things could be seen from both sides: "as they differ, we see them to be different, (as for instance) the liver and the gall, or Chu kingdom and Yue state; when we look at them, as they agree, we see them all to be a unity." If we perceive others as different, there will naturally be barriers.

The Aesthetic Connotation of Universal Transformation

Zhuangzi dreamt of being a butterfly, and when he was the butterfly, "a butterfly flying about, feeling that it was enjoying itself." He was vivid and lively, feeling perfectly content. When we undergo transformations into butterflies, this is what we call "the Transformation of Things." The Transformation of Things refers to the constant process of transformation and circulation of all things. Therefore, when we transform into butterflies, we are content being butterflies, feeling perfectly suited to our state. In "The Great and Most Honoured Master," there's a similar concept – we find contentment in whatever form we take. The universe is a process of vast transformation and circulation, as illustrated in the final story of "The Adjustment of Controversies," where Zhuangzi dreams of being a butterfly, signifying that in the process of universal transformation and circulation, everything and every creature undergo continuous change. Similarly, as stated in "The Floods of Autumn," everything is in a constant state of change, and we must learn to find contentment, being content in whatever form we take.

Another philosophical question touched upon in the story of Zhuangzi and Huizi debating the joy of fish while "observing fishes on the Hao dam" is: "You are not a fish; how do you know what constitutes the enjoyment of fishes?" How does the subject know the object?

Zhuangzi and Huizi were strolling on the bridge over the Hao. Zhuangzi said, "The thryssas come out and play about at their ease - that is the enjoyment of fishes." Huizi replied, "You are not a fish; how do you know what constitutes the enjoyment of fishes?" Zhuangzi retorted, "You are not I. How do you know that I do not know what constitutes the enjoyment of fishes?" Huizi responded, "I am not you; and though indeed I do not fully know you, you certainly are not a fish, and (the argument) is complete against your knowing what constitutes the happiness of fishes." Zhuangzi countered, "Let us keep to your original question. You said to me, 'How do you know what constitutes the enjoyment of fishes?' You knew that I knew it, and yet you put your question to me - well, I know it (from our enjoying ourselves together) over the Hao."

The story of "Observing Fishes on the Hao dam" mentioned by Huizi raises a significant issue in Western philosophy, as well as in Chinese philosophy, known as the "heaven-human relationship." Heaven and humans, one being the object and the other the subject, represent the relationship between the subject and the object. Western philosophy often tends to separate the subject-object relationship, while Chinese philosophy believes that humans exist within the context of the universe, where heaven and earth are our mother, hence the relationship between subject and object becomes the relationship between nature and us. The starting points and perspectives of the two philosophies are very different.

In the philosophical discussion Huizi initiated regarding how the subject knows the object, it can be observed that Huizi approaches the issue from a rational perspective, while Zhuangzi approaches it from a sensory perspective. Rationality emphasizes analysis, while sensibility focuses on empathy, with one prioritizing reason and the other valuing emotions. Here, Zhuangzi proposes to "keep to your original question." Human nature and emotions can resonate with each other, especially emotions. Therefore, Zhuangzi does not analyze how humans come to know the joy of fish from a rational standpoint. The question of "how the subject knows the object" is not Zhuangzi's concern. He directly empathizes with the joy of fish through his own emotions, enabling him to understand the joy of fish. Their starting points and emphases are quite different.

As Zheng Banqiao once said, "The bamboo in the eyes is not the bamboo in the heart." Saying that the fish swim freely represents the mood of the observer, which reflects Zhuangzi's open-mindedness and aesthetic sensibility. When it comes to the heart, Laozi and Confucius rarely discussed it, but by the time of Zhuangzi and Mengzi, they began to extensively discuss the "heart." Why? — Discussing the heart extensively indicates the importance placed on the heart and on life. Due to the constant warfare during the Warring States period two hundred years later, which caused great harm to the minds and lives of the people, emphasizing the heart implies care for life, signifying a awakening of the subject. This was a humanistic trend that concerned all schools of thought at that time, similar to the Wei and Jin dynasties.