GLOBALIZING CONFUCIANISM
53
Journal of East-West Thought
respective cultures. Master Zhu wrote essays, commentaries, poetry, philosophical
anthologies, ritual texts, government memoranda and a huge collection of dialogues
and letters to his friends and students.
Zhu Xi was also as systematic thinker as he was expansive in the range of topics
he addressed and the literary forms he wrote. In many ways it is the systematic
philosophical vision that makes him such a fascinating figure. He had a powerful
worldview that ordered his entire life project. Even this commitment to the creation of
a systematic presentation of what he considered to be the Confucian Way as
articulated by his revered Northern Song masters posed a problem to later students of
the Confucian Way. In the first place he wrote so much more than most of his
colleagues. If many Confucians were somewhat reticent about writing and publishing
their works, Zhu Xi went in another direction entirely. The modern Shanghai edition
of his collected works runs to twenty-seven large volumes. His scholarly output was
massive. There are a number of reasons for this output. Perhaps the simplest
explanation is that he passed the highest imperial examination at the remarkable age
of eighteen. The average age of someone to pass this highest examination was well
into the 30s. This gave Zhu extra decades as a scholar to produce a philosophical
masterpiece. Moreover, while committed (in theory) to government service, Zhu
managed for the most part to take up posts that allowed him to spend most of his time
on scholarly pursuits. The second reason can only be attributed to his burning desire
to expound and explain the work of the Song revival of Confucian scholarship that
has become known as Neo-Confucianism in the West and as
Songxue
宋學
in Chinese.
But even within the wide ambit of the Song revival of Confucian thought Zhu Xi
played a specialized role. He had a very particular take on what were the defining
philosophical elements of a Song representation of the authentic teachings of the
Confucian Way. In order to do this he argued that he was simply following the best
insights of his favorite Northern Song Master. He would have argued that in doing
this he was following the hallowed Confucian method of transmitting the wisdom of
his teachers and hence being faithful to what he called the
daotong
道 統
or
Transmission of the Way. Of course Zhu turned out to be just as creative in his role of
a transmitter as Kongzi long before. For instance, if Kongzi focused his attention on
the cardinal virtue of
ren
仁
, Zhu was equally famous (or infamous for his critics) for
selecting the notion of
li
理
, which he drew primarily form the work of younger of the
Cheng brothers, Cheng Yi.
Li
, like so many Chinese philosophical terms, has a long
history within the developing Confucian Way and defies a simple translation into
English. We will examine the nature and role of
li
in much greater detail below.
However, the most common English translations of
li
are pattern, order, texture or
principle—all governed by the notion of coherence as a key hermeneutical element in
trying to understand Zhu’s philosophical intent and systematic vision. So for instance,
we now find notions such as coherent pattern or coherent principle as translations
attempting to capture the structure, content and sensibility of Zhu’s philosophy.
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