Peter Wong

「不動心」的本質是甚麼？ ─《孟子》〈知言養氣章〉的文理與義理 / 漢學研究 39.2 (2021): 1-37. Scholars have tended to focus on the implications of such philosophical terms as “flood-like qi” 浩然之氣 and “unperturbed mind-heart” 不動心 in Mencius 2A:2, but have failed to identify the common thread of this rather long chapter. This article argues that Mencius 2A:2 frequently alludes to Analects 2.4, and that this allusion is precisely the common thread holding 2A:2 together. According to Mencius’s interpretation, Confucius’s achievements in different ages as stated in Analects 2.4 are all related to the political consideration of whether one ought to remain in a state and serve as its minister. In light of this, and with the support of other evidence from within the Mencius, it is argued that the question “would your mind-heart be perturbed?” at the beginning of the chapter can only mean “would your intention of leaving Qi 齊 be shaken by the fact that you had been appointed as its minister?” but not “would your intention of putting the Way into practice be shaken,” as suggested by Zhao Qi 趙岐 (?-210). Furthermore, it is shown that after the death of Mencius, his act of valor, namely leaving Qi despite having already been appointed as a Qi minister, had become a shared cultural memory of early Chinese intellectuals. Whenever mentioning “unperturbed mind-heart” in their works, early intellectuals consistently evoked Mencius’s unmoved determination to reject any inappropriate political appointment even though the position could bring them fame and material comfort. The rise of Zhao Qi’s misreading in his commentary to Mencius, however, has led to the loss of this cultural memory.

In 139 BC, Liu An presented the Huainanzi to Emperor Wu. Nowadays, most Western scholars believe that the Huainanzi has a “root-branches” bipartite structure. However, given that the author of the "Yao Lue" chapter (probably Liu An himself) asks the readers to read the Huainanzi from the beginning to its end in a successive order, and given that the text is designed in such a way as to prevent readers from “departing from the root and moving closer to the branches” (離本就末), it would be self-contradictory if any “branch” chapters are placed towards the end of the Huainanzi. This thesis examines the postface of the Huainanzi (Chapter 21, “Yaolue” [An Overview of the Essentials]) in detail. Based on the internal evidence, it is argued that the Huainanzi has a “root-branches-great root” tripartite structure. Chapters 1-8 of the Huainanzi belong to the “root” and discuss “the patterns of Heaven and Earth” (天地 之理). Chapters 9-18 belong to the “branches” and discuss “the affairs of the human realm” (人間之事). Chapters 19 and 20 together form the “great root” (大本) and are devoted to the discussion of “the way of emperors and kings”. (帝王之道) Since the Huainanzi is “the book of Liu Clan”(劉氏之書), chapters 19 and 20, which outline the way of emperors and kings, are evidently the most important and authoritative chapters. 目前西方學者多以為《淮南》二十篇由「本∕道」和「末∕事」兩部分組成，此說幾成定論。然而，《淮南》後序〈要略〉既然一方面要求讀者順序閱讀《淮南》二十篇，同時明確指出不欲讀者「離本就末」，然則《淮南》二十篇就不可能只由「本∕道」和「末∕事」兩部分組成。本論文通過分析〈要略〉文義，抉發篇中內證，指出《淮南》二十篇實由「本∕道」、「末∕事」以及「大本∕大道」三部分組成。第一部分由開首八篇組成，其論述主題為「天地之理」。第二部分則由第九篇到第十八篇組成，其主題為「人間之事」。第三組的地位最高，由第十九篇〈脩務〉和第二十篇〈泰族〉組成，其主題為「帝王之道」。而〈要略〉指出《淮南》乃「劉氏之書」，「劉氏之書」者，皇族之書、帝王之書也。由此可知闡述「帝王之道」的兩篇實為《淮南》之重心大本。

This article proposes that oral performance could be a philosophical activity in early China. The focus is on the Huainanzi, a densely rhymed philosophical treatise compiled by Liu An in the second century b.c.e. I show that the tome contains various sound-correlated poetic forms that are intended not only to enable textual performance but also, by means of aural mimesis, to encourage the intuitive understanding of its philosophical messages. Thus scholars of ancient poetry, philosophy, or intellectual history, despite being habituated to reading silently and observing disciplinary boundaries, should be attentive to these sonic patterns in order to do justice to the poetic-cum-philosophical richness and originality of this text. More importantly, I argue that these poetic forms enable readers and audiences to experience, embody, and, above all, enact the Way through textual performance. Thanks to the sound patterns of the Huainanzi, the somatic processes of aural reading and philosophical praxis can occur simultaneously. Vocalization becomes an actionable and repeatable spiritual exercise, which facilitates the intuitive understanding and internalization of philosophical values. In other words, the perennial knowing–doing gap is heroically closed by the Huainanzi. / 淮南子的文本聲景：早期中國的詩歌、表演、哲學與實踐 / 王棕琦 / 本文論證早期中國的文本表演可以是一種具創造性的哲學活動，而非只是以聲音演繹書寫文本的朗讀活動。文中首先指出《淮南子》裏跟聲音有關的詩歌形式不但有助朗誦表演，更能讓讀者直觀感悟書中哲學思想而不落言筌。而且，這些詩歌形式更讓讀者通過朗讀而實踐、內化書中所述之大道。可以說，《淮南子》對中國哲學的一大貢獻在於它將「知道」、「傳道」和「行道」三者合而為一。