One could define a “tragic” viewpoint in many ways, but its core is the claim that things in this world do not always work out for the best. Probably the greatest tragic figure in the Zhuangzi is the defiant praying mantis, who waves her arms to fend off the oncoming chariot. This praying mantis is surely a symbol of Confucius, who was said in the Lun Yu to know that what he does is impossible but to do it anyway. In (...) the Zhuangzi, such characters are fools, not heroes. While the view of life in the Zhuangzi is certainly not an optimistic trust that virtue is rewarded, it is just as surely not a tragic text. It tends rather toward comedy or play. This paper will examine the Zhuangzi in relationship to the tragic. The underlying claim is that the Zhuangzi’s rejection of the optimism of an anthropocentric universe is more radical than tragedy and helps reveal how a tragic viewpoint remains under the sway of an anthropocentric European tradition. Ultimately, pessimism and optimism both assume the validity of human categories, but this is precisely what is attacked in the Zhuangzi. Ironically, it is precisely the unique flexibility of human beings that allows us not just to recognize the insignificance of our goals and values in the world (seeing our situation as tragic) but to accept and take up that insignificance (seeing it rather as comic). The paper concludes with some reflections on why Zhuangzi’s position is both attractive and disturbing. (shrink)

This book presents an innovative reading of Daoist philosophy that highlights the critical and therapeutic functions of satire and humor. Moeller and D'Ambrosio show how the Zhuangzi expounds the Daoist art of "genuine pretending" the paradoxical skill of enacting social roles without submitting to them or letting them define one's identity.

The “happy fish” passage concluding the “Autumn Floods” chapter of the Classical Chinese text known as the Zhuangzi has traditionally been seen to advance a form of relativism which precludes objectivity. My aim in this paper is to question this view with close reference to the passage itself. I further argue that the central concern of the two philosophical personae in the passage – Zhuangzi and Huizi – is not with the epistemic standards of human judgements (the established view since (...) Hansen, “The Relatively Happy Fish”), but with the more basic problem of species-specific perspectives. On my reading, Zhuangzi’s emphatic positionality in the passage – on the dam, accompanied by his friend Huizi – plausibly suggests a circumspect reflection on the limitedness of human knowledge. It is significant that Zhuangzi’s knowledge of fish happiness is avowedly from a certain place, and not absolute. But there is still a sense in which this view is objective: namely, insofar as it adequately accounts for an inherently human perspective on the world. I call this modest form of relativism ‘Species Relativism’, which, crucially, leaves room for objectivity, even though a fully objective (i.e. absolute) view of the world is not accessible to humans. (shrink)

Playfulness and humor are often recognized as key components of the Zhuangzi. Despite this, the text itself is rarely read in a playful or humorous manner. It is commonly treated, even in its most...