The Zhuangzi begins with Peng, a soaring bird transformed from a bounded fish, which is the first metaphor that points beyond limited standpoints to a higher point of view. The transformation is one-way and symbolizes that there is a higher viewpoint to attain which affords mental freedom and the clarity and scope of great vision. Under the alternate thesis of constant transformation, values and understandings must ceaselessly transform and collapse. All cyclical transformations must collapse into skeptical relativism and confusion. But (...) Peng does not turn back into a fish, and the awakened sage does not fall into a slumber of ignorance and confusion. It is only the thesis of a one-way transformation that leaves the sage in a state of knowledge. (shrink)

I put forward the case that comparative philosophy is best practiced as integrative philosophy. The model for integrative philosophy employed embodies its own methodology, integrating the Hegelian dialectic and the Yin-Yang 陰陽, cyclical model of change illustrated by the Yijing 易經 as strategies for integrating philosophical traditions. As an object lesson, I integrate a real, historical one-way encounter with an imagined two-way encounter between Martin Buber and Zhuangzi 莊子, to provide a counter-example to replace Huntington’s clash of civilizations with a (...) meeting of civilizations. (shrink)

I argue that the main theme of the Zhuangzi is that of spiritual transformation. If there is no such theme in the Zhuangzi, it becomes an obscure text with relativistic viewpoints contradicting statements and stories designed to lead the reader to a state of spiritual transformation. I propose to reveal the coherence of the deep structure of the text by clearly dividing relativistic statements designed to break down fixed viewpoints from statements, anecdotes, paradoxes and metaphors designed to lead the reader (...) to a state of spiritual transformation. Without such an analysis, its profound stories such as the butterfly dream and the Great Sage dream will blatantly contradict each other and leave us bereft of the wisdom they presage. Unlike the great works of poetic and philosophic wisdom such as the Dao de Jing and the Symposium, the Zhuangzi will be reduced to a virtually unintelligible, lengthy, disjointed literary ditty, a potpourri of paradoxical puzzles, puns and parables, obscure philosophical conundrums, monstrous interlocutors and historical personages used as mouthpieces authoritatively arguing on behalf of viewpoints humorously opposite to what they historically held. (shrink)

The theme of this paper is that while there are four seemingly contradictory classes of statements in the Tao de Ching regarding moral values and the Taoist sage, these statements can be interpreted to be consistent with each other. There are statements which seemingly state or imply that nothing at all can be said about the Tao; there are statements which seemingly state or imply that all value judgements are relative; there are statements which appear to attribute moral behaviour to (...) the Taoist sage and there are statements which appear to attribute amoral or immoral behaviour to the Taoist sage. A consistent interpretation of these different statements can be found first by qualifying the assertion that the Tao is not capable of description to the less absolute assertion that nothing absolutely true can be said about the Tao; second, by arguing that the statements that appear to make all values relative refer to the correlativity of concepts, not the equality of values. Moreover, since the statements that appear to attribute moral behaviour to the sage are, by virtue of their predominance in the text, well justified and that by virtue of their paucity in the text, it is plausible to seek an alternate interpretation for the statements that seem to attribute amoral or immoral behaviour to the sage. Finally, the way in which the sage can be seen as good without attributing goodness to the Tao is by distinguishing between the way the sage appears to the observer who is outside of the Tao and the way in which the sage appears to himself. This latter distinction takes the form of the sage as appearing to display the quality of goodness in itself but not goodness for itself. (shrink)