Metaphors of adorning, crafting, water flowing downward, and growing sprouts appear in the Analects , the Mencius , and the Xunzi 荀子. They express and guide thinking about what there is in human nature to cultivate and how it is to be cultivated. The craft metaphor seems to imply that our nature is of the sort that must be disciplined and reshaped to achieve goodness, while the adorning, water, and sprout metaphors imply that human nature has an inbuilt directionality toward (...) the ethical that should be protected or nurtured. I argue that all the metaphors capture different aspects of human nature and how one must work with these aspects. There is much in contemporary psychology and neuroscience to suggest that the early Confucians were on the right track. It is also argued that they point to a fruitful conception of ethical development that is relational and holistic. (shrink)

In both content and historical position, the “ Xing Zi Ming Chu ” is of obvious significance for understanding the development of classical Chinese philosophy, particularly Confucian moral psychology. This article aims to clarify one aspect of the text, namely, its account of human motivation. This account can be divided into two parts. The first describes human motivation primarily in passive terms of response to external forces, as emotions arise from our nature when stimulated by things in the world. The (...) second comes from the role of the heart, which takes a more active role in shaping our responses to the world. This article focuses on the role of the heart. At stake is the status of human agency, in particular, the degree to which the heart, through the formation of a stable intention, allows us to go beyond being simply pulled along by external forces. (shrink)

The Xing Zi Ming Chu 性自命出 presents a distinctive account of human dispositions that centers on the spontaneous arising of affects like joy and sadness. This focus on emotion grounds a particular conception of the function of music and ritual that gives music a central role in self-cultivation. Although the account of human dispositions in XZMC was ultimately overshadowed by the opposing views of Mengzi 孟子 and Xunzi 荀子 and the question of whether our dispositions are good or bad, its (...) views remained central for Ru 儒 philosophy of music. The first three parts of the essay trace the development of the ideas appearing in XZMC through the “Discourse on Music” chapter of the Xunzi and parts of the Yueji 樂記. The fourth section highlights the distinctiveness of XZMC’s account through a contrast with the views of Mengzi and Xunzi. The essay concludes by examining the ways in which, in accounting for ritual and music, both the Mengzi and Xunzi employ views like those of the XZMC, even if those are in tension with their core philosophical theories. (shrink)