华人的联想思维 The Chinese Correlative Thinking

郝大维与安乐哲解释联想思维的意思：
华人思考时，惯用一种类比形式，我们可称之为联想思维。联想思维在中国古典宇宙学（易经，道家，阴阳家）和古典希腊都可找到；在希腊，这种思维是次要的，用在联系图像或者一组概念时，宁做有意义处置而不考虑实体因果。
联想思维是一种自发思维，基于非正式和特定类比程序，并以联系和区别为前提。这个思维模式的调整元素是文化与传统的共构，而不是因果必然性中的一般假设。
联想思维相对的不注重逻辑分析，就意味着能够把影像及隐喻关联的含糊性，暧昧性和不连贯性带进正式思维的成分中。事实上，这些混乱因素对正在决定中的联想秩序有正面价值，那就是提供拟人化和自我复现的机会。
理性思维注重用字明确，不含二意。与此相比，联想思维则把重点联系到那些已被认为不能再分成更小的元素有意义合成的影像组合。…..
….. 老师老子比他年轻的学生聪明，所以在这方面把学生比下去了。老子是阳，学生是阴。可是学生的体格比老师强壮，所以体力健壮的学生是阳，而老子是阴。当这些用来界定关系的各种强点和弱点可以平衡到适当点时，人际关系达到最有效，最和谐的状态。
从这个说明可以看出，阴和阳不能被理解为宇宙原理或者是根源于事物本质的本体对照物。反之，它们是启发性的，可以帮我们理解和记述世界的特征，并以不同方式来具体的体验它。
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Roger T. Ames and David L. Hall explain the meaning of correlative thinking:
Chinese thinking depends upon a species of analogy which may be called ‘correlative thinking’. Correlative thinking, as it is found both in classical Chinese ‘cosmologies’ (the Yijing - Book of Changes, Daoism, the Yin–Yang school) and, less importantly, among the classical Greeks involves the association of image or concept-clusters related by meaningful disposition rather than physical causation. Correlative thinking is a species of spontaneous thinking grounded in informal and ad hoc analogical procedures presupposing both association and differentiation. The regulative element in this modality of thinking is shared patterns of culture and tradition rather than common assumptions about causal necessity.
The relative indifference of correlative thinking to logical analysis means that the ambiguity, vagueness and incoherence associable with images and metaphors are carried over into the more formal elements of thought. In fact, the chaotic factor in the underdetermined correlative order has a positive value as an opportunity for personalization and self-construal.
In contradistinction to the rational mode of thinking which privileges univocity, correlative thinking involves the association of significances into clustered images which are treated as meaning complexes ultimately unanalyzable into any more basic components …..
….. The old teacher, Laozi, is wiser than his young student and hence ‘overshadows’ him in this respect. Laozi is yang and the student is yin. The student, however, is stronger physically than the old master, and hence in physical prowess the student is yang to Laozi’s yin. When these various strengths and weaknesses defining the relationship can be balanced to maximum effect, the relationship is most productive and harmonious.
It is clear from this illustration that yang and yin are by no means to be understood as ‘cosmic principles’ or ontological contrasts rooted in the very nature of things. Rather, they are heuristics helpful in reading and characterizing the world as concretely experienced in a variety of ways.

蔡文姬: 胡笳十八拍 Cai Wenji: Eighteen Songs of a Nomad Flute

蔡文姬(177-?) 是东漢代文學家和书法家蔡邕(AD 133-192)的女儿，博学有才，通音律和书法。
蔡文姬一生坎坷。汉末，兵荒马乱，蔡被胡兵所俘，在胡境住了十二年，嫁给匈奴左賢王，生二子。
因为蔡父蔡邕年老孤独，汉丞相曹操以重金给左賢王，将她赎还。回乡后，对还留在胡境内的二子思念不断，加上怀念儿时无忧无虑的生活，只有以诗来抒情。她的诗悲憤哀伤，反映她悲苦的一生。
今传她遗留诗三首。《悲愤诗》二篇，描述游牧生活。另一篇《胡笳十八拍》，反映痛苦一生和思子之情，虽然学者对这首诗是不是出自蔡之笔，还有争论。
这首诗直接和热情的反映了一个妇女的心声，这样的古诗是很不寻常的。直到现在，这首著名的曲调还是古琴演奏会中的名曲之一。
胡笳十八拍的第一拍：
我生之初尚无为，我生之后汉祚衰。
天不仁兮降乱离，地不仁兮使我逢此时。
干戈日寻兮道路危，民卒流亡兮共哀悲。
烟尘蔽野兮胡虏盛，志意乖兮节义亏。
对殊俗兮非我宜，遭恶辱兮当告谁？
笳一会兮琴一拍，心愤怨兮无人知。
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Cai Wenji (AD 177 - ?) was the daughter of Cai Yong (AD 133-192), a famous scholar and calligrapher of Eastern Han. She was a learned scholar, also proficient in music and calligraphy.
Cai Wenji had led a turbulent life. Towards the end of the Han era, the country was thrown into turmoil. Cai Wenji was captured by Hu troops and carried off to their city. She lived in the Hu territory for twelve years as the concubine of a Xiongnu prince, named Zuoxian and bore him two sons.
Sensing Cai Yong's loneliness, the Prime Minister Cao Cao sent precious gifts to Prince Zuoxian in exchange for Cai Wenji. However, she constantly longed for the two sons she left behind in the Hu region after returning to her homeland. She was also haunted by thoughts of her carefree childhood. Poetry was her consolation and her poems were noted for their sorrowful tone, parallel to her hard life.
Three poems are said to be written by her. Two named ‘Poem of Sorrow and Anger’ (悲憤詩) are narrative poems describing her life with the nomads. The third and most influential is the one that is known as ‘Eighteen Songs of a Nomad Flute’ (胡笳十八拍). The poem is a perfect reflection of her rough life and her deep yearning for her children, although its authorship is a perennial issue for scholarly debate.
The poem is unusual for early poetry because of its direct, passionately expressed identity of the woman’s voice. Until now, this famous melody is still one of the repertoires of Guqin concerts.
The first song:
"At the time of my birth, the land was at peace,

But later, the Han Dynasty fell into decline.

Heaven is unkind, allowing wars, suffering, separation;

Earth is unkind, that I should have to live at such a time.

Weapons of war are everywhere, making the roads perilous.

Soldiers and people fleeing to exile, suffering together.

The land, billowing clouds of smoke and dust, is a prisoner of the Hu.

Integrity and willpower have disappeared.

I cannot accept the vulgar barbarous customs,

Humiliated and abused, to whom can I turn?

I sing to my hujia and qin,

But no one knows my anger and my grief."

易经：六爻之动，三极之道也 Yijing: The Six Lines and Three Powers

易经说：六爻之动，三极之道也 。
什么是三极呢？三极就是天，地和人，而天地人正是华人的宇宙观。
天地有没有缺陷呢？当然有，不然我们就不会受苦受难了。所以人要为生存而奋斗。天地有缺陷，所以人生才有价值。
人生的价值就是要‘叁赞天地之化育’。叁赞就是弥补的意思，弥补天地的化育之不足。
再谈六爻。
我们都知道，易经讲的是阴阳之道，这就是庄子所说的：‘易以道阴阳’。
对华人来说，阴阳是重要的，老子说过：‘万物负阴而抱阳，冲气以为和。’
易经里，线代表阴阳爻。实线代表阳，虚线代表阴。上曰天，下曰地，中间就是人，各据二位置，共为六爻。所以天地人一动，就是六爻。六爻互动，这就是天地人之道了。
那个推行罢黜百家，独尊儒术的汉代儒者董仲舒总结说：天生之，地养之，人成之。
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Yijing says: The movements which take place in the six lines (six places of the hexagram) show the course of the three powers in their perfect operations.
What are the three powers? They are Tian (heaven), Di (earth) and Ren (humanity), which we have noted that they form the Chinese view of a three-tier universe.
Is the universe (tian-di) perfect? Obviously, it is not and that is why we suffer so much in life. We also have to fight constantly for our survival.
Now, this is where the Chinese see the value in life, which is to be able to ‘assist the transforming and nourishing powers of Heaven and Earth.’ Our life becomes meaningful only because the world is imperfect.
What are the six lines of the hexagram in the Yijing?
As Zhuanzi said, ‘Yijing is to show the action of the Yin and Yang.’
The Chinese always view the Yin and Yang seriously. Laozi said: ‘The myriad things contain Yin and Yang as vital forces, which achieve harmony through their interactions.’
In Yijing, the solid line of the hexagram represents yang and the broken line Yin. Tian is at the top, Di at the bottom and Ren in the middle and each occupies two positions. When any or all of the six lines move and interact, the world and people must act and interact accordingly, and that is the Way of Tian, Di and Ren.
The Confucian scholar Dong Zhongshu who was responsible for establishing Confucianism as the theoretical foundation of the imperial state during the Han dynasty (206 BC - 221 AD) summarised: ‘Heaven gives birth to things and instils people with moral inclinations; Earth nourishes things and provides for their material needs; and Humanity completes or perfects all things by maintaining proper patterning (i.e., through rites and music).’

一个假设的代价 The Price of An Assumption

王赓武教授在一篇题为‘一个假设的代价’的文章里说：（海峡时报，10 月1 日）
很明显的，美国财经界需要多些法规。中国的制造业界也肯定需要多些谨慎法规。看来是时候停止把世界划分为自由和非自由，视一为好而另一为坏了。大家所面对的问题是如何建立一个更有效的法规机制.....
壮丽的北京奥运结束不久，中国就面对毒奶丑闻与其食品的国际市场受到威胁。差不多同时，美国财经界魔咒般威胁严峻经济不景气的到来.....
几个星期以来，这两个国家共占新闻头条的事实，应令我们停下并问，是不是看起来像完全相反的意识观点都已经让位给与日俱增的含糊妥协了.....
中国和美国都认为删除法规体制是经济成长的秘密武器。他们都为这个假设付出了昂贵的代价.....
..... 如果活性法规是两国所需要的，正是时候问一问：对法规情况而言，资本主义者和社会主义者有无不同.....
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Extracted from Prof Wang Gunwu’s article entitled ‘The Price of An Assumption’:
(The Straits Times, 1 Oct 2008)
‘The need for more regulation in American financial services is obvious. More careful regulation is also certainly needed for Chinese manufacturing sector. The time may have come to stop dividing the world into free and unfree, painting one as good and the other as bad. The problem for everyone is how to build a more effective regulatory system……….
Soon after the end of the splendid Beijing Olympics, China faced the scandal of contaminated milk and the international market for its food products was threatened. About the same time, the US financial system conjured up threats of a severe recession……….
….. the fact that the two have shared news headlines for several weeks now should make us pause, if only to ask seemingly diametrically opposed ideological positions are not giving ways to increasingly blurred compromises…….
China and the US both believed that removing regulatory regimes was the secret of economic growth. Both are paying a very high price for that assumption…..
….. if it is active regulation that both needed, it is time to ask if capitalists and socialists are different where regulatory conditions are concerned……..’

审美：必然性的愉快 Aesthetic Judgment: Necessary Delight

这是个不容易理解的概念。
美对愉快感具有必然性的关系。但是这种必然性不是理论性和客观性的。这种必然性是特别的，只能称为例证式的。简言之，我的判断只是审美普世规律中的一个例子。
如果我们不能以理性或认知来表示美的原理，那我们又怎能向别人传达审美的必然构成呢？以康德之见，那要看判断的必然性的依据是什么。就是说，我们对审美者的期待是什么？
康德把这个依据称为‘共通感’- 这是我们对美的感觉，也就是我们审美力的先验才能。换句话说，我们要假设每一个人都有‘共通感’，就是这个‘共通感’使我们可以传达主观的审美。这并不说每个人会同意我的判断，而是每个人理当赞同我的判断。
我们都知二加二等于四。我们假设当我们传达时这个信息时，其他人都明白或者说理当明白这个普世真理。相同的，我们也可以假设每人都有‘共通感’来接受我们传达主观的审美。
因此，康德说：‘撇开概念，美可以被认为是对审美对象的必然性的愉快的认知。’
注：共通感，英语common sense，就是常识。可是康德这里并不是指常识，而是说经验之外的知识。
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This is a difficult subject.
There is something about the beautiful that leads to a necessary reference on its part to delight, pleasure. The necessity which combines the judgment of the beautiful with delight is neither a theoretical nor a practical necessity. It is a necessity of a special kind and can only be termed exemplary. My aesthetic judgment, in short, is an example of a universal rule regarding beauty.
If we cannot formulate the principle of beauty in a rational or cognitive form, how is it possible for us to communicate to others the necessary components of the judgment of the beautiful? According to Kant, it depends on what is it that the necessity of the judgment is grounded upon; that is, what does it say about those who judge?
Kant called the ground 'common sense', by which he meant the a priori principle of our taste, that is, of our feeling for the beautiful. In other words, we must assume that there is a common sense in everyone to which we can communicate the subjective judgment of the beautiful. This does not mean that everyone will agree with my judgment, but rather everyone ought to agree with it.
We all know two plus two equals four. We can assume when we communicate this that other must understand this universal truth. So we also can assume that there is a common sense in everyone to which we can communicate the subjective judgment of the beautiful.
For this reason Kant says that ‘The beautiful is that which, apart from a concept, is cognized as an object of necessary delight.’
Note: 'Common Sense' here does not mean general knowledge about everyday things.

谈天 Tan Tian: Let’s Chat

英文把天译为天堂，是值得澄清的。
天是中国宇宙学里最早用的一个字，也是中国神话，哲学里一个重要概念。据说天最早用于周朝，是指最高的天神。周朝为了说明其篡夺天下的正当性，而提出了天命的政治说辞，是说当一个统治者无道，他就应该被上天所指定的人来取而代之。
我们不难了解帝皇为什么要自称天子，或天神之子了。
孔子和他的弟子把天的概念延伸为人性化的道德之天，天为最高道德标准。中庸里首句‘天命之謂性’就是这个天。
老子则把天放到道之后：‘有物混成，先天地生…….吾不知其名，故强字之曰道。’这就把天还回凡俗，而超自然力量的天神也就从中国文化中被排除了。
中国的天与西方的天堂概念是不同的。天堂为了翻译英文Heaven才有的一个新的中文名词。
天加其他字又有新意，如天空，天性，天体，等等。
中国哲学常把天和互补的地合为天地 – 这就是我们的物质世界和宇宙。
再加上人，就形成了华人宇宙观的三才：天地人。
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The word Tian, which is usually translated as Heaven in English, needs clarification.
The Chinese word Tian is one of the oldest Chinese terms for the cosmos and a key concept in Chinese mythology, philosophy. Apparently Tian was first used during Zhou dynasty to refer to the highest deity. Zhou developed a political theory to justify their usurpation of the emperorship in a doctrine called Tian Ming, or the mandate of the highest deity, which is usually translated as the ‘Mandate of Heaven’ in English.
According to the Mandate of Heaven, whenever a ruler was no longer worthy of his position, he would be deposed and replaced by a ruler more favored by divine powers.
One can understand why emperors in China had decided to call themselves Tianzi, or the son of the highest deity.
Confucius and his disciples extended its meaning to mean an ethical Tian, that is, one having a moral principle and which is the highest principle of the universe. This is the sort of Tian which the book Zhong Yong (Doctrine of the Mean) refers to in its opening sentence when it says: ‘What Tian confers (on man) is called his nature.’
Laozi put Dao before Tian when he said: ‘There was something undifferentiated and all-embracing, which existed before Tian and Di (地 earth)….. I do not know its name, and hence call it Dao.’ With this, Tian is back to the terrestrial world and thus the mighty supernatural god is eliminated from the Chinese cultural context.
The Chinese concept of Tian is therefore different from the concept of the western Heaven. When the original English word Heaven is translated into Chinese, a new Chinese term Tian Tang (堂 hall) is used.
However, when Tian is combined with other Chinese words, the meaning may change accordingly. For example, Tian Kong (空empty, air) means the sky, Tian Xin(性 nature), inborn nature, Tian Ti (体 form, system), celestial phenomena, etc.
In Chinese philosophy, the term Tian is usually mentioned in relationship to its complementary aspect of Di (地), which is most often translated as "Earth". Put these two words together, the term Tian-Di actually means the terrestrial world, the universe. Together with Humanity (ren 人), the Chinese have therefore conceived a three-tier universe – tian, di (earth) and ren (humanity).

理性主义： 因果性思维 Rationalism: Causal Thinking

理性主义是指醉心于把推理当做可以作为知识来源，或者以推理来辩解事物。
不同程度上去应用理性方法和理论，会导致不同的理性主义的立场。从温和立场认为推理应该居先于其他获取知识的方法，到急进立场认为推理是唯一的获取知识之道的。
郝大维与安乐哲认为因果思维是理性主义的主要特征，而这种因果思维一直支配着古典西方。因果思维的前提有以下几点：
1。用混乱说来解释万物的起源，就是说万物的起源是虚无，分离或困惑。
2。把宇宙理解为单一秩序的世界。
3。断言静止比变化和运动居先；就是说，崇尚‘存在’而非‘变易’。
4。相信宇宙秩序是由某种中介者策动的结果。这些中介者可能是所谓的第一推动者，上帝的意志，之类。
5。明里暗地主张世界的千变万化，是被这些中介策动者所左右和决定。
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Rationalism is defined as is "any view appealing to reason as a source of knowledge or justification". Different degrees of emphasis on this method or theory lead to a range of rationalist standpoints, from the moderate position "that reason has precedence over other ways of acquiring knowledge" to the radical position that reason is "the unique path to knowledge" .
Hall and Ames think that one of the main characteristics of rationalism lies in causal thinking which is the mode which comes to dominate the classical West. Its presuppositions are
(1) The construal of the beginning of things in terms of “chaos” as emptiness, separation, or confusion;
(2) The understanding of “cosmos” as a single-ordered world;
(3) The assertion of the priority of rest over change and motion (alternately expressed as the preference for “being” over “becoming”);
(4) The belief that the order of the cosmos is a consequence of some agency of construal such as the Unmoved Mover, the Will of God, and so on; and, finally,
(5) The tacit or explicit claim that the states of affairs comprising “the world” are grounded in, and ultimately determined by, these agencies of construal.

子曰：六十而耳顺 Confucius Said：At Sixty I was Able to Listen to Everything Without Feeling Unhappy

子曰：六十而耳顺。
耳顺是指知天命后，个人的修行成熟，没有不顺耳之事。南怀瑾说，耳顺就是心里平静，明确是非善恶。
于丹解释说：人到了六十岁，能理解任何一件事情存在的道理，能虚心倾听各种声音。一个人要想做到耳顺，就要使自己无比辽阔，可以遇合不同高度，并以自己恒定的标准坚守在某一个高度。
另一个说法，‘耳’乃‘尔’也。顺就是“顺天命”，因先有“五十而知天命”，才能有“顺天命”。“知天命”的对于事物的处理一般是“接受结果”，还不是主动地按事物的规律性的谋取。“顺天命”当是有主动谋取的行为，但不意味着不犯错误，因为后有“七十从心所欲不逾矩”，才是不犯错误的年龄段。犯了错误而随时改正错误才可以说是“化”了，能“化解错误”，也就是“顺天命”了。
所以这句话，还是不好解。
我向往达到南怀瑾大师的心里平静境界。
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Confucius Said：At Sixty I was Able to Listen to Everything Without Feeling Unhappy
The original Chinese words used are ‘Er Shun’. Er means Ear, and Shun means Follow, Obey or Smooth, etc. So, literally, the phrase may mean follow your ear, obey your ear, etc.
I have found at least 6 ways of translating this phrase:
1. (James Legge)： At sixty, my ear was an obedient organ for the reception of truth.
2. (Arthur Waley)： At sixty, I heard them with docile ear.
3. At sixty, the heavenly principles were not offensive to my ears.
4. Since 60, I have been able to distinguish right and wrong on other people's words.
5. At sixty I was already obedient to the decree of heaven.
6. At sixty I listened to everything without feeling unhappy.

I prefer Master Nan Huai Jin(Nan Huai-Chin)’s view that when one is able to know clearly the difference between good and bad, one’s mind becomes calm, thus one is able to listen to everything without feeling unhappy.

审美不预先假设目的 Aesthetic Judgments Do Not Presuppose an End or Purpose

美有两种：自由美和依存美。自由美对物体没有假设任何的概念，而依存美则已经假设该物体应为何物的概念，并以这些概念帮我们决定该物体美不美。
审美讲的是自由美。我们只要看了花朵一眼，就能知道花儿美不美丽，而不需要借助其他和花有关的知识。这就是这花朵实质的自由美，因为不需要引进其他概念，比如花的目的，来帮我们决定它是不是漂亮。
就是说，花朵呈现给我们的是它的最后形态，而我们就依据这个最后形态来决定它美不美。就算植物学家对这朵花有很多东西要说，可是他们对花的概念和我们决定花漂不漂亮完全扯不上关系。
另一方面，如果我们说一座建筑物漂亮，因为它完美地符合了建造该建筑物的目的，这就是依存美而不是纯粹审美判断。审美判断是要基于感觉的。
所以康德说：‘美就是物体的最后形态，只要我们不以其目的来理解它。’

注：Finality, 英文亦作 purposiveness 就是合目的性。说美要无目的而合目的性，是很难理解的。
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There are two types of beauty: free beauty and dependent beauty. Free beauty presupposes no concept of what the object should be and dependent beauty presupposes a concept of what that object should be, and that concept makes it possible for us to determine whether that object is beautiful or not.
Aesthetic judgment is concerned with free beauty. We can tell whether a flower is beautiful or not just by looking at it, without a need to have further knowledge about it. We say that the flower is a free beauty of matter, as there is no other concept connected with the flower, such as its purpose, that could help to determine whether it is beautiful.
In other words, the manner in which the flower presents itself to us is final and this finality provides the basis for judgment of its beauty. That is to say, even botanists may have many things to say about the flower, their concepts have no bearing on our judgment whether the flower is beautiful.
On the other hand, when we say a building is beautiful because it meets perfectly the purpose for which it is built, we do not have a pure aesthetic judgment based solely on feeling. This is dependent beauty.

Accordingly, Kant said: ‘Beauty is the form of finality in an object, so far as perceived in it apart from the representation of an end (or purpose).’

Note: Finality is also translated as Purposiveness. However, it is difficult to understand how a thing can be purposive, yet without having a definite purpose.

程颢：闲来无事不从容 Chenghao：He Simply Enjoys What He Himself Is

这是宋朝程颢的「秋日偶成」。
闲来无事不从容，睡觉东窗日已红。

万物静观皆自得，四时佳兴与人同。

道通天地有形外，思入风云变态中。

富贵不淫贫贱乐，男儿到此是豪雄。
程颢兄弟是宋朝新儒家-理学重要人物。他们所写有关宇宙论，哲学，修身，论理，礼仪，及古典学说，影响了东亚几个世纪。
程颢乐以助人，常令人有如沐春风之感。他本人则以寻快乐为人生目标之一。他说：‘昔受学于周茂叔，每令寻求仲尼，颜子乐处，所乐何事。’他认为，圣人的快乐是内心的自然反映，所谓‘廓然而大公，物来而顺应’。所以他以己为乐。
这首「秋日偶成」正反映他的以己为乐。
一个恬淡而与世无争的人，做起任何事来都是从容不迫的。在一夜好睡之后，醒来看见天已经透亮了。
第三句里最关键的是这个「静」字。一般的人随便能够静得下来吗？在一个与世无争，心思清静的人，遇到任何变化，都能够心领神会，怡然自得。
真正宇宙的法理，是超乎天地之外，从上到下每个层次，一体贯穿，而且是无所不在的。而我们的思维，从宏观到微观，就像是风云一般，随时都有著千变万化的体悟。
第七句里的「淫」指的是动摇、改变。自己虽然身处贫贱，仍然怡然自得，不会被外界的富贵所迷惑。而人生在世，能够无欲无求，静观自得，道通天地，思入风云，又岂止是一个「豪雄」而已呢？
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Chenghao (1032–1085) and his younger brother Chengyi were two of the most important neo-Confucian thinkers of Song dynasty China, and their writings in such fields as cosmology, philosophy, self-cultivation, ethics, ritual, and classical studies influenced the course of East Asian thought for centuries.
Chenghao had a strong desire to help others and bring comfort to the common people. As for himself, searching for happiness is one of his professed aims in life. He said: ‘When we studied under Zhou Dunyi, he always asked us to find out wherein lay the happiness of Kong (Confucius) and Yanzi and what they found enjoy.’ To him, the happiness of the sage is a natural outcome of his state of mind, for which he described as ‘impersonal, impartial, and responding to things spontaneously.’ He simply enjoys what he himself is.
This poem reflects how he enjoys what he himself is in the ‘Autumn Days’.
In these late years there is nothing that comes
That is not easy and simple;
Each morning through my window shines the sun,
As I awake.
All creatures run their course in the true content,
As I calmly observe.
The pleasure of each season through the year,
I enjoy with others.
Beyond Heaven and Earth and all that has shape,
The Dao is there.
The winds and clouds above me shift and change,
My thought is there.
By riches and high estate, I am not to be polluted;
Neither poverty nor low rank can affect my happiness.
A man like this is a hero indeed.