In 1993, an astonishing discovery was made at a tomb in Guodian in Hubei province (east central China). Written on strips of bamboo that have miraculously survived intact since 300 B.C., the "Guodian Laozi," is by far the earliest version of the _Tao Te Ching_ ever unearthed. Students of ancient Chinese civilization proclaimed the text a decisive breakthrough in the understanding of this famous text: it provides the most conclusive evidence to date that the text was the work of multiple (...) authors and editors over hundreds of years, rather than the achievement of a single individual writing during the time of Confucius. Robert Henricks now presents the first English translation of the "bamboo slip Laozi." Differing substantially from other versions we have of the text, the Guodian Laozi provides us with clues on how and when the text came into being. As Henricks's translation shows, many chapters are missing in this form of the text, and some chapters remain incomplete. All of this seems to suggest that the _Tao Te Ching_ was not yet "complete" when these slips were copied. In his translation, Henricks focuses attention on lines in each of the chapters that vary from readings in other editions. In addition, he shows how the sequence of chapters in this form of the text is totally unrelated to the sequence readers commonly see in the "standard" form of the text, i.e., in other translations. Here are just a few of the noteworthy features of this new _Tao Te Ching:_ • A lucid introduction to the Guodian Laozi, offering background on the archaeological interpretation of the discovery • Line-by-line comparisons of the Guodian Laozi against the Mawangdui and Wang Bi editions • Extensive notes on each chapter describing the unique elements of the Guodian Laozi in comparison with other versions • Transcriptions for each chapter, noting both the ancient and modern form of the characters in the chapter • An appendix featuring the official biography of Laozi written by Sima Qian, the Grand Historian of China, as well as Henricks's commentary and notes on this biography This groundbreaking work will lead to a reassessment of the history and significance of this well-known and critical work as well as a reevaluation of the role it played in the development of Taoism in early China. (shrink)

This new edition offers expanded selections from the works of Kongzi, Mengzi, Zhuangzi, and Xunzi ; two new works, the dialogues _Robber Zhi_ and _White Horse_; a concise general introduction; brief introductions to, and selective bibliographies for, each work; and four appendices that shed light on important figures, periods, texts, and terms in Chinese thought.

In 1993, an astonishing discovery was made at a tomb in Guodian in Hubei province. Written on strips of bamboo that have miraculously survived intact since 300 B.C., the "Guodian Laozi," is by far the earliest version of the _Tao Te Ching_ ever unearthed. Students of ancient Chinese civilization proclaimed the text a decisive breakthrough in the understanding of this famous text: it provides the most conclusive evidence to date that the text was the work of multiple authors and editors (...) over hundreds of years, rather than the achievement of a single individual writing during the time of Confucius. Robert Henricks now presents the first English translation of the "bamboo slip Laozi." Differing substantially from other versions we have of the text, the Guodian Laozi provides us with clues on how and when the text came into being. As Henricks's translation shows, many chapters are missing in this form of the text, and some chapters remain incomplete. All of this seems to suggest that the _Tao Te Ching_ was not yet "complete" when these slips were copied. In his translation, Henricks focuses attention on lines in each of the chapters that vary from readings in other editions. In addition, he shows how the sequence of chapters in this form of the text is totally unrelated to the sequence readers commonly see in the "standard" form of the text, i.e., in other translations. Here are just a few of the noteworthy features of this new _Tao Te Ching:_ • A lucid introduction to the Guodian Laozi, offering background on the archaeological interpretation of the discovery • Line-by-line comparisons of the Guodian Laozi against the Mawangdui and Wang Bi editions • Extensive notes on each chapter describing the unique elements of the Guodian Laozi in comparison with other versions • Transcriptions for each chapter, noting both the ancient and modern form of the characters in the chapter • An appendix featuring the official biography of Laozi written by Sima Qian, the Grand Historian of China, as well as Henricks's commentary and notes on this biography This groundbreaking work will lead to a reassessment of the history and significance of this well-known and critical work as well as a reevaluation of the role it played in the development of Taoism in early China. (shrink)

Wei-Jin period is characterized by neo-Daoism ( xuanxue 玄學), and J I Kang lived in the midst of this philosophical exploration. Adopting the naturalism of the Zhuangzi , J i Kang expressed his socio-political concerns through the medium of music, which was previously regarded as having moral bearing and rectitude. Denying such rectitude became central for J i Kang, who claimed that music was incapable of possessing human emotion, releasing it from the chains of Confucian ritualism. His investigation into the (...) name and reality of musical expression gave music an “aesthetic turn” lacking in Qin and early Han thought, and by making use of concepts such as natural harmony and spontaneity, J i Kang was able to turn away from the negative aesthetics of earlier thinkers such as H e Yan and W ang Bi to one cherishing the naturalism espoused by Zhuangzi. (shrink)

Zhuang Zi's relation to the Confucian school is reexamined. It is argued that although Zhuang Zi was fond of highlighting the absurdities of the Confucian enterprise, we can nonetheless detect in his writings a great admiration for much of what constituted the central core of the Confucian vision. This essay analyzes Confucius' image of "musical perfection," representing the total concordance of ritual restraints and harmonious freedom; traces the Confucian notion of self-cultivation through Mencius' passage on the "full-flowing energy"; and concludes (...) with an examination of Zhuang Zi's "Butcher Ding" story, showing that while Zhuang Zi's whole concept of self-nurturing is approached from a diametrically opposite angle, he nonetheless ends up celebrating a state of mastery and freedom in many ways identical to Confucius' notion of musical perfection. (shrink)