In China, Taoism has been as influential as Confucianism.
It was more influential than Confucianism in the time ofthe "Six
Dynasties"; viz., from the third to the sixth centuries. It was
at that time that the Taoistic classics had their best commenta-
tors. Wang Pi's "Commentaries on the Lao-tzll," and Kuo
Hsiang's "Commentaries on the Chuang-tzu," for instance, have
become classics themselves; 1 venture to say that some passages
of their "Commentaries" are even more illuminating than the
texts.
The sayings of Lao Tzu and the books of Chuang Tzu and
Lieh Tzu are usually regarded as the earlier classics of Taoism.
Lao Tzu's book is brief enough, yet in it he spoke about many
things. Sometimes his meaning is not clear, and opens up many
different interpretations. The authenticity of The Book of Lieh
Tzu (Lieh-tzu) as we possess it is much questioned. A great part
of the book is now regarded by most scholars as the production
ofthe "Six Dynasties." It is only in the Chuang-tzu that we have a
well-developed philosophy; and a great part of that book, especial-
ly the "inner chapters," is usually considered genuine. There
are also side branches of Taoism, the ultramaterialism and hedon-
ism of Yang Chu, for instance. But Chuang Tzu's philosophy
represents the main current of the Taoistic teaching. His book,
with Kuo Hsiang's "Commentaries," is the most important
literature of Taoism.
THEGENERAL VIEWPOINT AND THE
SIGNIFICANCE OF TAOISM
Before discussing Taoism in detail, it is better for us to
get familiar first with its general viewpoint. William James divid-
ed philosophers according to their temperament into two classes
- the "tough-minded" and the "tender-minded." The "tough-
minded" philosophers reduced mind to matter, the "higher" to
the "lower"; according to them, the world is materialistic (at
least nonspiritualistic), mechanistic, and deterministic. Man
is alien to the world, in which there is no God, no immortality,
no freedom. On the other hand, the "tender-minded" philoso-
phers reduced matter to mind, the "lower" to the "higher."
According to them, the world is spiritualistic, in which there is
God, immortality, and freedom; and man, though insignificant
he may appear to be, is inwardly connected with the whole.
These are really the two points of view to see the world. Science
takes the one point of view, religion, the other; the one is more
congenial to intellect, the other, to feeling. Because the two view-
points are different, science and religion are always in conflict.
And how to reconcile this conflict has become a problem in phi-
losophy.
In the history of philosophy, generally speaking, there were
mainly two ways to reconcile these two points of view. Some
philosophers (Kant, for instance) said that science is valid only
in the phenomenal world; beyond the phenomenal, there is the
noumenal world, whteh is not governed by the laws of science,
and is the place for God, immortality, and freedom. James,
Bergson, generally speaking, both took this view. We may call
it the pragmatic (in the broad sense of the word) point of view.
Other philosophers (Spinoza, for instance) fully accepted the
naturalistic conception of the universe, but in their system, by'
a peculiar combination, there is still place for God, immortality,
and freedom; man is still one with the universe, if only he can
"see things under the form of eternity." Thc so-called new
realism in contemporary philosophy seems also to take this view.
We may call this the neorealistic point of view. As we shall see,
Taoism also took this view. Some people said that Taoism is
naturalistic and scientific, while others said that it is mystic and
religious. In fact, it is both.
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我花了整整一个星期才勉强读完这本**《尘埃中的几何学》**,老实说,它给我留下的印象与其说是“阅读”,不如说是一次冗长而迷幻的“冥想”。它的叙事结构是极其跳跃的,常常在一句对窗外麻雀行为的精准观察之后,猛然转入对宇宙边缘熵增的抽象探讨。这让我不得不频繁地回头重读,试图在那些看似不相干的段落间建立起某种隐秘的联系。这本书的**语言风格极其冷峻而精确,像一台精密的瑞士钟表在滴答作响**,但它的内容却又无比柔软和易逝。我尤其欣赏作者对“时间”这个概念的解构,他没有使用任何宏大的词汇,而是通过描述一滴水珠如何从叶尖滑落到泥土中,来阐述时间的不可逆性与循环性。这让我开始重新审视自己生命中那些被视为理所当然的瞬间。这本书的缺点在于,它对普通读者的门槛太高了,它不迎合,不解释,只陈述。如果你没有耐心去品味那些细微的语感和意境,很可能会觉得它晦涩难懂,甚至有些矫揉造作。但对于那些寻求深度内省的灵魂来说,这无疑是一份沉甸甸的礼物,需要用时间去慢慢开启和消化。
评分这本**《不着边际的沉思录》**简直是本让人思维打结的奇书!我得说,初读时我几乎要抓狂了。它不像我以往读过的任何哲学或散文集,更像是一连串从梦境深处捞出来的碎片,带着露水和古怪的逻辑。作者似乎拒绝给出任何明确的答案,而是抛出无穷无尽的悖论和看似荒谬的场景。比如,他花了整整一章去讨论“一只正在思考如何飞翔的石头”,那段描述的细节之丰富,让我甚至能想象出那块石头沉重的叹息声。我尝试用理性去解构每一句话,结果只是把自己绕进了一个没有出口的迷宫。但奇怪的是,当我放弃理解,只是沉浸在那些奇特的意象中时,一种莫名的平静感油然而生。这书**不是用来“读懂”的,而是用来“体验”的**。它强迫你放下对确定性的执念,去接纳世界的混乱与美丽。我最喜欢那部分关于“影子与光明的争吵”,语言充满了古典的韵律,却探讨着最现代的二元对立困境。如果你期待一本能给你人生指导方针的书,请绕道而行;但如果你渴望一场彻底的智力冒险,准备好让你的既有认知被无情地颠覆,那么,请勇敢地翻开它吧。
评分我必须坦诚,**《镜中世界的倒影》**是本读起来让你感到非常“不舒服”的书,但这种不适感恰恰是它的魅力所在。作者似乎对“真实”有着近乎偏执的怀疑,他不断地在文本中设置陷阱,让你以为自己抓住了某种意义,下一秒又被无情地抽走。书中大量运用了对话体,但这些对话往往是自相矛盾的,两个人说着完全不同的逻辑,却都坚信自己是正确的。这对我这个习惯于寻找明确对错的读者来说,是极大的挑战。我记得有一段描写,主人公试图向一个盲人描述“蓝色”,最终放弃了,转而描述“蓝色的寂静”。这种**对语言局限性的深刻洞察和无奈感**,贯穿了全书。这本书与其说是在探讨哲学,不如说是在解剖人类认知结构的脆弱性。它不是一本“治愈系”读物,它更像是一剂清醒剂,让你意识到,你所依赖的语言、逻辑和常识,不过是约定俗成的幻觉。如果你阅读的目的是寻求慰藉,请远离;如果你想体验一场智力上的“高空跳伞”,这本书绝对能满足你。
评分这本书,姑且称之为**《风的词典》**,让我体会到了一种久违的、近乎于孩童般的好奇心。它的叙事充满了对自然万物细致入微的描摹,但这些描摹背后蕴含的哲思却异常深刻。作者似乎拥有一种魔力,能让每一件平凡的事物——比如一块苔藓,或者雨后的泥土气味——都变成一个承载着宏大主题的载体。我尤其喜欢其中几篇关于“无为”的论述,它们完全没有那种传统说教的架子,而是通过讲述古代匠人如何看待木材的纹理,如何顺应材料本身的天性去雕刻,来展现“顺势而为”的至高境界。这种**“润物细无声”的写作手法**,比任何直接的论断都更有力量。唯一让我感到困扰的是,某些篇章的意象过于繁复,导致阅读节奏有些缓慢,需要读者有极强的专注力去跟上作者那如水流般的思绪。总的来说,这本书提供了一个避开现代社会喧嚣的绝佳窗口,它教会我们如何用一种更谦卑、更开放的姿态去观察我们所生存的世界。读完后,我竟然花了十分钟,只是静静地看着办公室窗外的一棵树发呆,这在以前是绝无可能发生的。
评分读完这本**《无字之歌》**,我有一种感觉,作者仿佛是直接从远古的某个智慧源头汲取灵感。它的文字密度极高,但读起来却异常轻盈,仿佛每一句话都经过了无数次的锤炼,只留下最核心的骨架。这本书的结构是**螺旋上升式的**,主题不断重复,但每一次回归都带着更深一层的理解,像太极推手,看似在退让,实则是在积蓄力量。我特别被书中对于“空”的描绘所震撼,它不是“虚无”,而是一种充满潜能的“留白”。作者用了大量的篇幅来描述“等待”的状态——等待日出、等待雨停、等待一个想法成熟——这些等待的过程,被描绘得比结果本身更加饱满和富有张力。它颠覆了我们“结果导向”的现代思维。我承认,有些段落的意境过于飘渺,需要反复咀嚼才能体会其中韵味,但正是这种需要努力去“接住”的感觉,让阅读过程充满了回报。这本书不提供答案,它只提供了一种看待世界的**新的、极其古老的视角**。它更像是一面镜子,映照出我们日常生活中遗漏的、那些真正重要的、却被匆忙掩盖的深刻之处。
评分冯友兰英译内七篇。
评分冯友兰英译内七篇。
评分冯友兰英译内七篇。
评分冯友兰英译内七篇。
评分冯友兰英译内七篇。
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