Tag Archives: Taoist Philosophy

“Absolute” [Poetry Style #1] by Sikong Tu [w/ Audio]

Posted on by
Reply 
With wear you will decay outside,
   But inside resides the vital force.
 Approach the Absolute through the Void:
   One's strength will grow, and vim will course.
 You can know the world and its Way,
   Across space and time -- to the Source.
 To desolation range hang dark clouds,
   Air still as latitudes of the horse,
 Move beyond all one knows by sight,
   And gain the Center -- but not by force --
 Hold onto this strength by hook or crook,
   And flow the Endless by watercourse.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a crude translation of the first of the twenty-four poems. This poem’s Chinese title is 雄浑, and its translated titles include: “Energy – Absolute” [Giles] and “Vigorous.”

“Fluid” [Poetry Style #24] by Sikong Tu [w/ Audio]

Posted on by
Reply 
Like water spilling over rocks?
   Like a bead's roll across the floor?
 Cliches, they fail to tell the story,
   As no doll shows life's splendor.
 But the Earth' unsupported spin through space,
   As the heaven's pivot and sprawl for more...
 If you could find how it all began,
   You'd see it'll be as it was before.
 The high and bright realm of the gods
   Returns to nothing and nevermore.
 And if you lived ten-thousand years,
   You might find yourself in days of yore.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the twenty-fourth of the twenty-four poems. This poem has been alternately titled “The Flowing Style,” “Fluid,” “Motion,” etc. by varied translators from its Chinese title of 流动.

“Abstract” [Poetry Style #22] by Sikong Tu [w/ Audio]

Posted on by
Reply 
Lonely and longing to travel;
   All alone and lacking a tribe.
 Like the crane up on the mountain,
   Or the cloud that enshrouds its peak.
 Like the portraits painted by past
   Masters, of souls you couldn't have known.
 Like a leaf drifting on swift winds,
   Bounding through the boundless spaces.
 You'll never be able to hold it,
   But can hear the song it dances to,
 Those who accept this can tune in,
   And the signal will only get stronger.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the twenty-second of the twenty-four poems. This poem has been alternately titled “Abstraction,” “Elegance,” and “Drifting Aloof” by varied translators, but its original title is 飘逸.

“Form” [Poetry Style #20] by Sikong Tu [w/ Audio]

Posted on by
Reply 
Quit seeking to firm up the soul;
 Return to the unadorned truth.
   One can seek the shape of water;
   One can write of a pleasant spring.
 Winds shift the shapes of clouds,
 Flowers stand tall, and flowers droop.
   The great waves of a sprawling sea,
   The mountain's craggy ruggedness...
 They all emulate the Great Way.
   Every wonderful thing is dust.
 Find semblance beyond shape or form.
 In this person, the multitudes.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the twentieth of the twenty-four poems. Translated titles vary. This one has been titled “Descriptive” and “Form and Feature” by varied translators.

“Fascinated” [Poetry Style #16] by Sikong Tu [w/ Audio]

Posted on by
Reply 
The scent: copper-carpeted pine forest;
 A stream rushes through: swirling, burbling;
 Blue sky and snowcaps peek through the treetops.
 In the distance, fishermen are trawling.
  A young lady with flowing hair and gown
  Passes gracefully through the thick woodlands.
  Eyes move when she moves and stop when she stops,
  Following her transit down the valley.
 The mind shows not its usual chaos,
 But is effortlessly anchored to her.
   As if to a huge rising moon.
   As if to blazing autumn hues.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the sixteenth of the twenty-four poems.

“Finely Woven” [Poetry Style #14] by Sikong Tu [w/ Audio]

Posted on by
6 
The building blocks of everything --
   Too fine to feel or see or smell --
 Dance their way into hardened shapes
   Via forces, invisible.
 And so water flows, flowers bud,
   But - also - dew evaporates.
 This expansive path stretches on --
   It's slow-going through dark lands.
 It can't be spoken of smartly.
 It can't be pondered fruitfully.
 It's Early Spring green in sunlight,
   Or like the snow seen by moonlight.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the fourteenth of the twenty-four poems. Translated titles vary: Giles calls it “Close Woven” and others have titled it, “Fine.”

“Placid” [Poetry Style #2] by Sikong Tu [w/ Audio]

Posted on by
Reply 
It thrives in silence and with calm --
   ephemeral and gossamer.
 It's ever-flowing harmony,
   gliding with a solitary crane,
   wisping like the gentle breezes
      that rustle and billow one's robe,
   trilling softly like a bamboo flute.
 How does one become one with it?
   A chance meeting, lucked into, but
      don't lunge forward, or it'll vanish.
 When you think it's attainable,
   it twists in your hand and is gone.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the second of the twenty-four poems.

Yielding to the Flow [Free Verse]

Posted on by
Reply 
A slender leaf
   floats downstream.

Its tip touches 
   a stouter leaf,
     sending the
     slender leaf 
     spinning.

The leaf continues to 
    twist as it drifts,

Making it seem spastic,
   but it neither rushes
     nor dawdles.

It matches the flow,
   letting gravity &
     currents do all the work.

It races only when it
    plunges through
     a narrow channel,

But it downshifts just as
      effortlessly as the
      stream widens.

The leaf's action is
   unforced, yielding to
     energy imparted upon it.

Crouching Tiger [Free Verse]

Posted on by
Reply 
In a square hut -
 beside a craggy pass -
  lived a Crouching Tiger,
 a man of spontaneity  
  who danced to no music, 
  staggered when sober,
  rested in times of urgency,
  & labored when there seemed
     to be nothing in need of doing.

He was courted by Emperors,
 but shunned them.
  The only way the Emperor 
     could get him to visit was
    to order his exile.

BOOK REVIEW: Dao De Jing: A Minimalist Translation by Lao Zi [Trans. Bruce R. Linnell]

Posted on by
Reply
Dao De Jing: A Minimalist TranslationDao De Jing: A Minimalist Translation by Lao Zi
My rating: 5 of 5 stars

Available Free on Project Gutenberg

The Dao De Jing presents the core philosophy of Taoism, a philosophy that values simplification, non-action, naturalness, spontaneity, and recognition of opposites in [and their influence on] each other. There are numerous editions (this is the Wang Bi / “standard” ed.) and English translations of this Daoist tract, and the translation matters because the Dao De Jing is at once simply stated and arcane. I liked what Linnell did with this translation, which – as the subtitle suggests – he aimed to make simple and straightforward.

One nice feature of this translation is that each of the 81 chapters has four segments: the original Chinese text, a readable English translation, a word-for-word literal translation, and notes. Having the Chinese, a literal translation, and notes can be helpful when one has trouble deciphering the more cryptic passages. Another nice feature is an appendix in which the author discusses another scholar’s hypothesis that the chapters of the Dao De Jing were composed in layers, and Linnell re-orders the chapters as suggested by this hypothesis. Finally, the book ends with a Jefferson Bible-esque excerpt collection that takes all the places where Lao Zi wrote “Thus the sage:” and builds a single composition describing a wise person.

If you’re interested in Taoist philosophy, you may want to read this translation, whether you’re new to the Dao De Jing or you’ve read other translations or editions in the past.


View all my reviews