Knowing Yang, Maintain Yin
| Original | English Translation |
|---|---|
| 知 其 雄 | while knowing masculinity |
| 守 其 雌 | maintain femininity |
| 為 天 下 谿 | act toward all-under-heaven as a mountain-stream |
| 為 天 下 谿 | by acting toward all-under-heaven as a mountain-stream |
| 常 德 不 離 | continuing Virtue will not leave |
| 復 歸 於 嬰 兒 | thus returning to (be like) newborn-babe |
| 知 其 白 | while knowing light |
| 守 其 黑 | maintain darkness |
| 為 天 下 式 | act toward all-under-heaven as an example |
| 為 天 下 式 | by acting toward all-under-heaven as an example |
| 常 德 不 忒 | continuing Virtue will not expire |
| 復 歸 於 無 極 | thus returning to the unlimited |
| 知 其 榮 | while knowing honor |
| 守 其 辱 | maintain humility |
| 為 天 下 谷 | act toward all-under-heaven as a valley |
| 為 天 下 谷 | by acting toward all-under-heaven as a valley |
| 常 德 乃 足 | continuing Virtue will then abound |
| 復 歸 於 樸 | thus returning to the original-simplicity ("uncut wood") |
| 樸 散 則 為 器 | original-simplicity (uncut-wood) cut then becomes a tool |
| 聖 人 用 之 | Daoists use them (the cut-wood tools) |
| 則 為 官 長 | then becomes a long public-servant (tenured-public-official?) |
| 故 大 制 不 割 | therefore, to make (something) large, don't cut (it) |
My Comments:
My first pass on translating this, it was very masculine vs femanine I think that was a mistake. its actually yang vs yin. And, masculine/femanine happen to be one of the manafestations of the yin/yang concept.
To a causal observer it might say "Masculine = Light = Honor" and "Femanine = darnkness = humility".
The message seems (at first) to say "learn he things Men do, but then be like women". I think it reall is saying ... "learn the yang, and then try to stay yin instead".
There are a few places where this concept is "pushed" throughout the book. The idea seems to be, if you push yourself toward yin, then natural forces will push you back toward yang. Which I think means, you can glide through life on the updraft of yang forces around you, if you refuse to ride it upward. Kind of like a kite, that is anchored to the string, the winds will keep it up, but if it is freed from the string, and allowed to rise with the wind, it will come crashing down.
So, as long as you "maintain" the yin ... or cling to the attitudes of yin, you will be lifted through life by unseen forces pushing you the other direction. On the other hand, if you constantly aspire to power, honor, lime-light, etc, you will constantly be pushed yin-ward.
I think that last line says that the cut things (wood that is fashioned into a purpose) have limited use ... because they specialize they are no longer versitile. And that the daoist uses them, but the daoist, who remains uncut wood (original-simplicity) non-specialized, has many uses instead of just one. Which makes him able to maintain his public office for years and years. So, by not cutting, things are large (or long lasting, or have more usefulness).
I very definitly think the concept of "cut" being to "refine to give a specific purpose" (like cutting a gem, or a log), and "cut" like dividing into multiple piececs (making a large thing into smaller things) is being played for both of its uses to juxtapose two otherwise disconnected concepts. The question is, how does that cut/uncut discussion at the end have anything to do with the first three, more structured "stanzas" of this poem?
There is a lot of imagry here, and I think there's a lot of depth to it. I can see the elements, but I'm not sure I can connect the dots.
I know that the mountain-stream is masculine (i the yi-jing, the mountain and the moving water are both "sons" ... meaning young yang ... or masculine). I know that the valley is a "daughter" (young yin), where there is abundance (I dont think its an accident that virtue "abounds" in the verse about the valley).
I think that coupling the light/dark opposites with the idea of an example, ... means they arent about light and darkness, but might be more about being a loud (shining) example, or quiet (barely noticed) example. But, why they are combined with the "unlimited" (or ... "that which has no boundaries") rather than calling it the Dao ... seems intersting.
the word here for "light/bright" is used a lot in the yi-jing when talking about fire (one of the "daughters"). The only members of the Bagua that aren't really showing up in this chapter are "Thunder" (a son), and "Wind/Air/Wood" (a daughter). which, interestingly enough are polar opposites in the circular arrangment of the Bagua.
I feel like there's a lot here, but I dont see how it unfolds into a unified flower.