The image of the Peng bird, which opens the Zhuangzi text, is not the product of metaphysical reasoning. An inspiring example of soaring up and going beyond, the image is used to broaden the outlook of the small mind; its function is thus more therapeutic than instructional. With its rich poetic and experiential content, the image of the Peng refuses to be reduced to an abstract concept, or a mere signifier of certain philosophical position. Misreading of the image results from (...) any attempt to accurately “size up” its philosophical implication by measuring it quantitatively against a spectrum of positions and values. To see only the superficial “inconsistencies” in Zhuangzi’s argument and to read the wind under the Peng’s wings as a handicap that it needs to overcome in order to embark on its “free and easy wandering” is, in the name of logic and “consistency,” to ignore the big picture Zhuangzi presents. (shrink)

The seventh chapter of the Zhuangzi 莊子 contains a narrative about Liezi 列子, his teacher Huzi 壺子, and a physiognomist named Jixian 季咸. Traditionally, the story has been read as a didactic tale about how to become a true Daoist sage or as an illustration of attaining spiritual perfection. This essay will argue for an alternative reading of the story as a humorous parody about failed sages, and, at the same time, as an illustration of the benefits of a playful (...) facelessness—or genuine pretending. It thereby turns out to be a counterpart of the following narrative of Hundun 混沌 which completes the Inner Chapters. The story about Liezi’s retirement illustrates how his teacher Huzi remains unharmed by virtue of being a faceless “genuine pretender” whereas Hundun’s demise is due to his failure to maintain his facelessness. (shrink)

You 遊 is a crucial term for understanding the Zhuangzi . Translated as “play,” “free play,” and “wandering,” it is usually defined as an ideal, playful Zhuangzian way of being. There are two problems with this definition. The first is logical: the Zhuangzi cannot consistently recommend playfulness as an ideal, since doing so vitiates the essence of you —it becomes an ethical imperative instead of an activity freely undertaken for its own sake. The second problem is performative: arguments for playful (...) Zhuangzi as exemplar resemble those of the logicians and philosophers who appear to come in for Zhuangzian criticism. This essay addresses these tensions by demonstrating how the Zhuangzi ambiguates the nature and value of you . Apparent endorsements of you are not freestanding, instead occurring in grudging replies of teachers to overly zealous students. In light of this recontextualization, a new version of you is offered that accommodates “non-playful” ways of being. (shrink)

The significant role of skill in Zhuangzi’s good life has been argued by most Zhuangzi scholars. However, there is ongoing debate concerning the psychological and behavioral mechanisms that underwr...

The “happy fish” passage in the Zhuangzi 莊子 is often interpreted as endorsing some form of perspectivism which precludes objective claims of knowledge and displaces the significance of human perspectives. Relativism has gained particular currency in contemporary readings. However, this essay aims to show the limited explanatory power of such relativist positions, with focus on Chad Hansen’s “perspectival relativism” and Lea Cantor’s “species relativism.” I will also offer a new, “transitional contextualist” reading, which intends to demonstrate that Zhuangzi’s utterance is (...) grounded in his epistemic context and that Huizi’s 惠子 disputation arises from his changing of the epistemic context, from one with quotidian “low standards” to one with “high-standards” skeptical demands. I further argue that when “wandering” (you 遊) is understood as a freedom from one’s partial perspective, it becomes clear how Zhuangzi analogizes a parallel with the fish’s “wandering” through a continuity between his “world” and that of the fish. (shrink)