The full text of Chapter 12 of the restored version of the Tao Te Ching is as follows:
This chapter corresponds to Chapter 56 of Wang Bi's version of the Tao Te Ching, but does not include the first sentence of this chapter. The text of this chapter is based on the Chu bamboo slips "Laozi".
The theme of this chapter is "Xuan Tong". "Xuan" is a proper term for Laozi's philosophy, which means the unity of positive and negative, that is, "absolute". "Xuantong" refers to the complete overlap of Tao and the universe, which is another expression of Tao's ubiquity. All things are like Tao, and Tao is exactly like all things. Tao and things are inseparable, which is called "xuantong".
The essence of "Xuantong" is "the unity of opposites." The principle of "unity of opposites" points out that the relationship between Tao and the universe is the opposition and unity of "absolute" and "relative", which are positive and negative to each other. This relationship shows a certain asymmetry, that is, the universe can never reach the Tao, but the Tao can infinitely penetrate the universe and become ubiquitous. This chapter vividly reproduces the profound connotation of "Tao's infinite penetration into the universe".
In the previous chapter, Laozi explained how the principle of "fairness and justice" is implemented through the "Three Treasures". In this chapter, Laozi further reveals that "xuantong" is the basis for Tao to ensure the implementation of the principle of "fairness and justice". It is precisely because Tao is everywhere that Tao's blessings can reach every corner of the universe without missing a trace. Tao's benefits are distributed equally according to the principle of "fairness", and no one or thing can interfere with this. Not only that, anyone who tries to control things with Tao through attaining Tao is just wishful thinking. "Fairness and justice" are not only reflected in the distribution of Tao, but also further reflected in the use of Tao after distribution. Both of them are based on "xuantong".
Laozi revealed the specific performance characteristics of "Xuan Tong" at three levels. First of all, the Tao is present with all life. Tao gives birth to all things, but what is different from the mutual generation of things is that after things are born, mother and child are divided into two parts, but after Tao is born, it is always one with the things and will never be separated. Secondly, Tao is not only coexisting with life, but also with all matter. Light and heat, gas and dust, everything is integrated with Tao and is inseparable. Going a step further, Tao not only coexists with material things, but also with all non-material things. Whether it is the confidence to overcome difficulties, the power to overcome hardships, the wisdom to solve problems, or the miracles that turn dangers into safety, they are all some manifestations of Tao. The Word is in it. It's just that people don't see Tao when they see things. What people see is actually the incarnation of Tao.
The summary of these three levels exhausts all forms of existence of Tao. Tao permeates all things, including all matter and spirit, consciousness and energy, all things. It is not Tao but is like Tao, and is like Tao but ultimately does not see Tao.
Traditional old commentaries misread "Xuan Tong" as a certain character of a person. First, they lack a correct understanding of "Xuan" and do not know that "Xuan" represents the overlap between Tao and all things in the universe; The first sentence of this chapter is misleading, "Those who know do not speak, those who speak do not know", thereby confusing Tao with people. However, "the ones who know do not speak, those who speak do not know" are mixed into this chapter by mistake, and have no connection with the following. . Due to these two errors, the traditional interpretation of this chapter is naturally far from that of Lao Yi.
"Those who know do not speak, and those who speak do not know" should be said by Laozi. This is also quoted in "Zhuangzi Zhibeiyou", but it is really irrelevant to "Xuantong" . "Xuantong" is the unity shown by the ultimate opposition of "absolute" and "relative". It is the representational feature of the asymmetric relationship between Tao and the universe. It is one of the unique attributes of Tao. It belongs to two different things with whether a person has attained Tao. category.
"Harmony with light and dust" is originally an image portrayal of Laozi's "Tao coexists with all matter". It is actually similar to the famous saying "Tao is drowned in feces" in "Zhuangzi Zhibeiyou", and they reflect each other. However, in the traditional interpretation that confuses man and Tao, "harmony with light and dust" has suddenly transformed into a way of doing things without showing off one's edge and remaining aloof from the world. It echoes the "gold mean" and is talked about by people to this day. The indistinguishability of human beings from Taoism and the substitution of pillars is a typical method used by traditional commentators to systematically Confucianize Laozi's thoughts. It appears repeatedly in the interpretation of the Tao Te Ching and must be distinguished.
The first level of "Xuantong" - Tao and all life are coexisting and closely connected
"Sai Qimen" refers to the door through which Tao and life are born. Gush out, indicating the existence of Tao and all life. Game, the original meaning of competition, here is a metaphor for two people competing. Gate refers to the door where life is born.
"Duì" means that Tao is closely connected with all things. As long as life exists, Tao can order and prohibit things, and everything will obey its orders. Dui refers to the channel of communication between Tao and things. Shelter, shelter, ensure open communication channels.
Here, the usage of "gate" is like "the gate of Xuan Ni, which is the root of heaven and earth", referring to the origin of life. "Sai" implies that the subject is Tao and all things, and the two sides can be said to be a competition.
"Sai", "Sai" in the original work handed down from ancient times, was misunderstood by later generations. For details, please see "Correction Notes of this Chapter".
"Dui" is an important concept that needs to be emphasized.
There have always been different opinions on the meaning of "Dui". Laozi here takes the original meaning of "Dui" as "tongda", which means that all things are connected with the Tao. When things are connected, they are spiritual, and when they are spiritual, their nature is revealed, so cats can catch mice and monkeys can climb trees. Tao not only coexists with things, but also maintains smooth communication with things at all times. This is the deeper meaning of "Xuan Tong".
"Dui" has already appeared in oracle bone inscriptions. It has an upper, middle and lower structure, from people to mouth and from eight, which symbolizes that people open their mouths to communicate with heaven. The eight characters on the head represent the eight trigrams in the sky.
"Shuowen" ""Yi" says: 'Dui is a witch and a mouth'" This is what it means. After the wizard enters the trance state, he communicates with heaven through incantations. To communicate with gods, "tong" is the first element, which is the origin of "tong", the original meaning of "dui"; later communication derived the concept of "exchange". After channeling the gods, the wizard muttered something, which is the origin of "dui", "shuo" and "shuo"; and finally receiving the protection of the gods also extended the meaning of "joy".
It can be seen that the original meaning of "Dui" is "tong", and "Shuo", "Yue" and "Rui" are all derived from "Dui", so the pronunciation is also related to Benzi Dui (duì) Don't. However, "Shuowen" interprets "Dui" as an upper-lower structure, either from ? Cong'er or from Bacong brother, so it is difficult to explain why the original meaning of "Dui" is "Tong". This is because the concept of "son" or "brother" in the upper-lower structure replaces the concept of "witch" in the upper-middle-lower structure. Therefore, the original meaning of "Dui", "tongda", became unclear.
"The Book of Songs·Daya·Mian": "The 枞(zuò)櫫(yù) has been pulled out, and the walking path has been dutied (duì)." It means that shrubs such as eucalyptus and white oak (ruí) Pull them all out so that the road you build can be unobstructed. Here, "Dui" means "tongda". Oak and 桵 refer to oak trees and white oak trees respectively, both of which are bushes.
Wang Bi interpreted "Dui" as "the source of desire." "Dui" is the source of desire. There is no way to test the original meaning or derived meaning of "dui". It is really made out of nothing, which reproduces Wang's writing style of speaking freely. However, there are many followers in later generations, and it is still very popular today.
"Bi" is written as "Outer Gate and Inner Ge" in the Chu bamboo slips. This word has been lost today. It is speculated that its meaning is to hide the weapon behind the door, which means "protecting the home with the weapon". This meaning is still spread among the people today. People hang swords behind their doors to control their houses and ward off evil spirits. Since the original character of "Outer Gate and Neige" has been lost, another word should be used to replace it. The meaning of "PI" is consistent with it, which means "protection", so it is replaced by "PI".
"Outer door and inner conflict" has been interpreted by academic circles as "closed" in order to be consistent with the handed down tradition. However, in the context of this chapter, the use of "closure" is logically unworkable, causing a conflict of meaning and is not advisable. The "Correction Notes on this Chapter" further explains the logical contradiction of interpreting "outer door and inner conflict" as "柟" or "closure".
The second level of "Xuantong" - Tao is present with all matter
"And its light" means that Tao is in all light. Whether the sun and moon illuminate the heaven and earth, or the light of virtue illuminates the soul, you can see the shadow of Tao, shining with the sun and moon, dancing with the gods, making you suddenly enlightened.
"With its dust" means to be among all the dust. Dust represents the smallest substance and the smallest unit that constitutes all things, so "in dust" means in all things.
The subject of "With its light, with its dust" is Tao, and it tells that Tao is in all things. There is a wonderful description in "Zhuangzi Zhibei You", which more vividly reproduces Laozi's conclusion.
Dong Guozi asked Zhuangzi where the Tao was, and he wanted to have evidence for what he said, so Zhuangzi made a list: in ants, in straw, and in bricks. The more Dong Guozi listened, the more uncomfortable he became, and he kept muttering, "Why is it that the more he talks, the more despicable he becomes?" Unexpectedly, Zhuangzi finally said, "The Tao is in the urine and urine!" Dongguozi was finally speechless.
This is the popular "Tao is drowned in shit", which complements Lao Tzu's "harmony with light and dust". Laozi's "harmony with light and dust" is actually Zhuangzi's "Tao is drowned in shit". However, the meaning of "harmony with light and dust" has been misunderstood. It is said to be to restrain your sharpness and be confused with the public. What is promoted is the Confucian way of being a low-key person and acting humbly, which is consistent with Laozi's way. They have long been incompatible with each other.
The third level of "Xuan Tong" - Tao is coexisting with all invisible power and wisdom
"Fruit its sharpness" means that it can defeat all sharpness. To be able to overcome difficulties, one must have strength. In other words, Tao is in all power. Tao is the infinite power for people to overcome all difficulties and obstacles. This is Laozi's visualization of the invisible Tao.
"Resolving disputes" means that it can resolve all disputes. Resolving disputes means solving problems, which requires wisdom and methods. That is to say, Tao is in all wisdom. To resolve all crises and solve all problems, no matter how clever the method is, you can still see the shadow of Tao. This is Lao Tzu re-visualizing the invisible Tao.
"Frustrating its sharpness and resolving its confusion" expands the ubiquity of Tao from the tangible to the intangible, from the material world to the non-material world. Spirit, wisdom, emotion and pursuit are all intertwined with Tao. *Dance is the result of Tao action. Tao not only gives life to all things, but also controls people's spiritual world. Gains and losses, success and failure, glory and dreams, and the end are all masterpieces of Tao. How can we not be amazed!
The above eighteen characters reveal that Tao is everywhere from three levels. This is the connotation of "Xuan Tong".
Tao coexists with all things, not only with mountains and rivers, with life, but also with gods, wisdom, strength, and hope. This is the most perfect portrayal of "Xuan Tong".
The meaning of "Xuantong" is that Tao can control all things, but humans cannot control Tao
The meaning of "Xuantong" is that Tao is in all things, and all things are in In the way.
The Tao will not be closer to me or further from you. No one can be closer to the Tao or further away from the Tao. Therefore, "You cannot be close to each other when you are available, and you cannot be close to each other if you are not available." The Tao does not distinguish between closeness and distance, and treats everyone equally.
Since Tao treats everyone equally, if you want to use Tao to make profits, you will not be able to do it; if you want to use Tao to harm others, you will not be able to do it; if you want to use Tao to seek more wealth, you still cannot do it; if you want to use Tao to make people good, you will not be able to do so. Master, even more cannot do it. This is "You can't get it for benefit, nor can you get it for harm. You can't get it for nobleness, and you can't get it for cheapness."
Tao is always fair and cannot be influenced by others. Turning to Tao to achieve personal goals will never succeed. Precisely because Tao is impartial and treats all things the same, everyone in the world respects Tao and its virtues, "therefore it is noble in the world."
Correction explanation for this chapter
1. "Those who know do not speak. , the speaker does not know" The basis for moving from this chapter
"The person who knows does not speak, the person who speaks does not know" appears not only in the handed down version, but also in the silk script A and B, the Peking University Han bamboo slips, and the Chu bamboo slips "Laozi", the writing is slightly different. The Chu slip "Laozi" writes: "Those who know cannot speak, and those who speak cannot understand." The words are slightly different, but the meaning is completely consistent. Other versions are no exception.
The high degree of consistency shown by each version does not prove that there were no errors or changes before the "Laozi" on the Chu slips. It took about two hundred years from the completion of Laozi's "Tao Te Ching" to the appearance of "Laozi" on Chu bamboo slips. Any form of textual changes or alterations cannot be ruled out. Through a comprehensive analysis of the Chu bamboo slips "Laozi", we found that there are many expressions in the Chu bamboo slips "Laozi" that are contrary to Laozi's original intention, as well as traces of additions or changes by later generations. For example, the sentence "The Monkey King can guard it" mentioned in the previous chapter is obviously added by later generations and conflicts with Laozi's original intention.
The reason for restoring the original chapter to remove "Those who know cannot speak, and those who speak cannot understand" from the text is based on logical continuity. This sentence as the beginning has nothing to do with the discussion of "Xuantong" below. It appears here only because later generations did not understand the old meaning, which caused the article and sentence to be misplaced. Therefore, it is removed from this chapter and classified into the chapters related to moral theory that are more closely related logically.
2. Research on keywords in this chapter
"Sai" and "Sai" are written in two different ways in the Chu bamboo slips "Laozi", but they were misread by later generations as the same one. Character. "Sai" and "Sai" are both written in an upper, middle and lower structure on Chu bamboo slips, and the top and bottom are also "宀" and "贝", but the writing in the middle is different. The former is "Double King" and the latter is "Gong" .
"Two Kings" symbolizes two princes competing in the palace for rewards. "Gong" is the simplification of "duplex" in the Oracle character "sai", which means to separate rooms with walls. The two are completely different from glyphs to connotations and cannot be mixed. The usage in this chapter is "saiqimen" rather than "saiqimen".
"Dui" is also written in two ways in the Chu bamboo slips "Laozi", with different meanings. The word "Dui" in this chapter is written as "Congzhi (walking) Congdui" in the Chu bamboo slips. The word "辵" is added next to the original character of "Dui" to emphasize that "Dui" is related to "Zou", so it is written as "Tong". "The solution is exactly what it means. The original word "Dui" appears in another chapter in the sentence "Those who are good at protecting people will not nest, and those who are good at protecting will not be dui (yuè)". Here, "Dui" is pronounced as "acupoint", and its meaning is the same as "walking". "It doesn't matter, the writing method is also the same as the original character.
"Bi" is written as "Outer Gate and Inner Ge" in the Chu slips, which is interpreted as "closed" by academic circles. However, this interpretation is not logical in the context of this chapter, and the meaning is the opposite. Li Ling believes that "Outside the door and inside the door" is a corruption of "閟", while "閟" is the same as "close", which is generally recognized by the academic community. However, the difference between the writing methods of "Ge" and "Bi" in the Chu bamboo slips is very obvious. It cannot be a clerical error. What is the reason for the error? The argument that the word is not a corruption is even more convincing.
What is more difficult to explain is that the expression of these two Chu bamboo slips is "(men + Ge) Qi Dui, Sai Qi Men", while the expression in the handed down version is "Stop Qi Dui, close the door ", even if "men+ge" is read as "closed", "sai" is read as "sai", and the positions of "dui" and "men" are also exchanged, it still cannot be returned to the handed down version, unless the writing method of Chu slips is Completely negative.
The choice of "Men + Ge" in the restored version is not a false word, but the logic of an out-of-print word. We start from the meaning of the word itself, and then use the meaning to find current words that are connected with it. The meaning of this word is read as "protecting the family with arms", which is connected with the "protection" in "shelter", so it is replaced by "protection".
"Tong", the Chu bamboo slips are written as "Cong Zong Tong", which is intended to emphasize the verb usage of "Tong" and the meaning remains unchanged. Today, the verb usage of "tong" is the same word, so "congzuo Congtong" is used as "tong".
"Chen" is written in a special way on Chu bamboo slips. Judging from the glyph, it may be an ancient Chinese character for "Shen", but the academic community is not sure. And there is a heavy character below the word, which means the meaning is unknown. The original version of Silk Book B is "chen", and the original version of Silk Book A is "Shangzhen Xiatu", which is a variant of "Chen". Each handed down version is called "Chen".
In view of the fact that other versions use the word "chen", and the meaning is consistent with Laozi's explanation of "Xuan Tong", the restored version still uses the usage of other versions and interprets the word as "chen".
"戂", written in the Chu bamboo slips as "left animal and right chop", is also an out-of-print character. Huang Xiquan used the clues of "withdrawal" and "扌 + animal" in "Four Tone Rhymes of Ancient Prose" and "Han Slips" to infer that "animal + 刂" is a variant of "戂", which makes some sense. As far as the meaning of "animal + 刂" is concerned, it means to slaughter livestock, which means to destroy, which can be extended to defeat the opponent.
Restore the original story from Huang.
"Rui" is written as "Shang Er Xia Yi" in the Chu bamboo slips, which is another out-of-print character. "鳏" originally means the decoration on the neck. "Er" means lush. "The Book of Songs·Xiaoya·Caiwei": "What is Bierwei? Weichangzhihua." It means, what is the blooming flower? It is the flower of Tangdi. Changtongtang, Huatonghua. Therefore, in terms of metaphor, "ER + 菏" has a dazzling meaning, which is similar to the Zhou people's word "光" for "ray of light".
The Chu people's "mang" means "Huang". "Zhuangzi·Zhile": "The awn is as bright as the fluorene, but there is no way out." "Mang" means "barren". It can be inferred from this that the Zhou people's character "Mang" is the Chu people's character "Huang", and the Chu people's character "ER + 菏" is the Zhou people's character "Mang". "Mang" also means "edge", so there is a connection between "Mang" and "sharp". According to this, "er + Yi" can be connected with "rui".
Attachment: Chapter 56 of Wang Bi's "Tao Te Ching":
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