Embracing Dynamic “Stillness” – the Etymology of Wu Wei (無為)!
Translation and Commentary by Adrian Chan-Wyles PhD
Aged Wisdom Comprehend “Wu Wei” Precisely!
Origin: Dao De Jing (道德經) – Way Virtue Classic – Authored By Laozi (老子) [12 references]
Date: Spring & Autumn Period (770–476 BCE) - Zhou Dynasty (1050–221 BCE)
Dao De Jing - Chapter 63
Manifest non-action. Move without moving. Taste without tasting.
为无为,事无事,味无味①。
Locate the great in the small – the many in the few.
大小多少②。
Discontent is transformed through contact with Virtue.
报怨以德③。
Simplicity resolves the complicated. Great actions emerge from small origins. Difficult worldly undertakings are made easy. Great worldly endeavours are achieved through perfecting small deeds. The sage becomes great through pursuing that which is small.
图难于其易,为大于其细;天下难事,必作于易;天下大事,必作于细。是以圣人终不为大④。
Greatness is achieved in this way. Those with authority must give (and keep) their word – or trust will not be forthcoming. Without correct preparation - great difficulty will be forthcoming. As the sage always prepares (correctly) for every difficulty – the sage is never hindered (or overcome) by mundane obstacles.
故能成其大。夫轻诺必寡信,多易必多难。是以圣人犹难之,故终无难矣⑤。
What is this concept that Laozi states is the essence of the Great Sage?
無 (wu2) = no, non, and none
為 (wei2) = action, service, and behaviour
無為 (Wu Wei) = non-action, in-action, and no-effort
Origin: Dao De Jing (道德經) – Way Virtue Classic – Authored By Laozi (老子) [12 references]
Date: Spring & Autumn Period (770–476 BCE) - Zhou Dynasty (1050–221 BCE)
Dao De Jing - Chapter 63
Manifest non-action. Move without moving. Taste without tasting.
为无为,事无事,味无味①。
Locate the great in the small – the many in the few.
大小多少②。
Discontent is transformed through contact with Virtue.
报怨以德③。
Simplicity resolves the complicated. Great actions emerge from small origins. Difficult worldly undertakings are made easy. Great worldly endeavours are achieved through perfecting small deeds. The sage becomes great through pursuing that which is small.
图难于其易,为大于其细;天下难事,必作于易;天下大事,必作于细。是以圣人终不为大④。
Greatness is achieved in this way. Those with authority must give (and keep) their word – or trust will not be forthcoming. Without correct preparation - great difficulty will be forthcoming. As the sage always prepares (correctly) for every difficulty – the sage is never hindered (or overcome) by mundane obstacles.
故能成其大。夫轻诺必寡信,多易必多难。是以圣人犹难之,故终无难矣⑤。
What is this concept that Laozi states is the essence of the Great Sage?
無 (wu2) = no, non, and none
為 (wei2) = action, service, and behaviour
無為 (Wu Wei) = non-action, in-action, and no-effort
Etymology of Chinese Ideogram “無” (Wu)
The traditional Chinese ideogram “無” (Wu) is comprised of four-particles - constructed in horizontal-layers from the base upwards:
Top (fourth) particle = “𠂉” (ren2)
This is used in a similar manner to “亻” – which is a contraction of “人” – used to refer to a “person” or “human-being”.
Upper-middle (third) particle = “卌” (xi4)
An old way of referring to the number “40” (forty) – written in contemporary Chinese ideograms as “四十” (Si Shi). Essentially, this represents the Chinese number “10” (十 – shi2) written four-times in parallel – “十十十十”. However, the concept of “卌” (Xi) is also recorded as being associated with the ideogram “廿” (nian4). This “廿” ideogram represents the number “20” (twenty) or “二十” (Er Shi) – but is a designation only associated with the recording of dates when using the traditional Chinese (lunar) calendar. When this ideogram is doubled – as in “廿廿”- a similar structure to “卌” is seen to emerge.
Lower-middle (second) particle = “一” (yi1)
This ideogram is used to refer to the number “1” – but can also be used to convey the meaning of being “alone”, “solitary” and “all” (as in “everything” gathered in a “single” place). Other usages can include “unity”, the “beginning” and the “best”, etc.
Bottom (first) particle = “灬” (hou3)
The particle “灬” is a contraction of the ideogram “火” – which depicts a “burning-fire”. The contents within a metal cooking-pot is possibly being warmed - whilst hanging over a burning fire. Fire might light the way and dispel the darkness. If out of human control – fire might be destructive – or used as an element of warfare, etc.
Given that all the above meaning is contained within 無 (wu2) – how does this activity equate with the contemporary concept of “doing nothing”? The constituents are:
1) A human-being (dancing)
2) The number forty (calendrical – officially marking time)
3) The number one (unifying)
4) The concept of fire (ritual)
The earliest depiction of this ideogram dates to the Oracle Bone Inscriptions of the Shang Dynasty (1600-1046 BCE). This records a man “dancing” whilst holding-in his long-sleeves and pulling-up his long-robe. This is a ritual of some kind involving fire – performed at a certain time of year (every forty days) as marked by the calendar. A particular person must carry out this ritual – but no other. This ritual must be performed on a specific day to be effective – and on no other. Unity is the key to success – not disunity. The concept of fire provides the light and warmth which powers this ritual – a lack of light and warmth means the ritual cannot correctly take place. The ritual involves an expertly performed – but narrowly defined – set of parameters and practices. To achieve this special activity – an entire raft of prohibited behaviours must be avoided at all costs. Knowing “not” what to do is a prerequisite for understanding what must be done. Caution is the primary meaning.
The traditional Chinese ideogram “無” (Wu) is comprised of four-particles - constructed in horizontal-layers from the base upwards:
Top (fourth) particle = “𠂉” (ren2)
This is used in a similar manner to “亻” – which is a contraction of “人” – used to refer to a “person” or “human-being”.
Upper-middle (third) particle = “卌” (xi4)
An old way of referring to the number “40” (forty) – written in contemporary Chinese ideograms as “四十” (Si Shi). Essentially, this represents the Chinese number “10” (十 – shi2) written four-times in parallel – “十十十十”. However, the concept of “卌” (Xi) is also recorded as being associated with the ideogram “廿” (nian4). This “廿” ideogram represents the number “20” (twenty) or “二十” (Er Shi) – but is a designation only associated with the recording of dates when using the traditional Chinese (lunar) calendar. When this ideogram is doubled – as in “廿廿”- a similar structure to “卌” is seen to emerge.
Lower-middle (second) particle = “一” (yi1)
This ideogram is used to refer to the number “1” – but can also be used to convey the meaning of being “alone”, “solitary” and “all” (as in “everything” gathered in a “single” place). Other usages can include “unity”, the “beginning” and the “best”, etc.
Bottom (first) particle = “灬” (hou3)
The particle “灬” is a contraction of the ideogram “火” – which depicts a “burning-fire”. The contents within a metal cooking-pot is possibly being warmed - whilst hanging over a burning fire. Fire might light the way and dispel the darkness. If out of human control – fire might be destructive – or used as an element of warfare, etc.
Given that all the above meaning is contained within 無 (wu2) – how does this activity equate with the contemporary concept of “doing nothing”? The constituents are:
1) A human-being (dancing)
2) The number forty (calendrical – officially marking time)
3) The number one (unifying)
4) The concept of fire (ritual)
The earliest depiction of this ideogram dates to the Oracle Bone Inscriptions of the Shang Dynasty (1600-1046 BCE). This records a man “dancing” whilst holding-in his long-sleeves and pulling-up his long-robe. This is a ritual of some kind involving fire – performed at a certain time of year (every forty days) as marked by the calendar. A particular person must carry out this ritual – but no other. This ritual must be performed on a specific day to be effective – and on no other. Unity is the key to success – not disunity. The concept of fire provides the light and warmth which powers this ritual – a lack of light and warmth means the ritual cannot correctly take place. The ritual involves an expertly performed – but narrowly defined – set of parameters and practices. To achieve this special activity – an entire raft of prohibited behaviours must be avoided at all costs. Knowing “not” what to do is a prerequisite for understanding what must be done. Caution is the primary meaning.
Etymology of Chinese Ideogram “為” (Wei)
The traditional Chinese ideogram “為” (Wei) is comprised of two-particles arranged in two- horizontal layers:
Top (upper) particle = “又” (you4)
This is a right open-hand grasping toward the left. This means to “take hold of”, “to take control of”, and “to construct”. This particle can also be used to denote the act of correct “governance” and the “control” of a situation. In other words, a situation has been firmly taken in-hand and is under control. What needs to be done – has been done - in a timely and efficient manner.
Lower (bottom) particle = “象” (xiang4)
This particle depicts an elephant. Although this ideogram can be used to discuss ivory and tusks – it also directly refers to an “elephant” such as those still found in Yunnan. The elephant is strong, majestic, and sometimes dangerous in its unpredictability. Indeed, the 16th Hexagram of the Change Classic (Yijing) is named “豫” (yu4) – which suggests that an elephant is “praised” – causing a situation of ongoing “delight”, “enthusiasm” and “reassurance”. Within ancient China the handling of an elephant was considered a vital and important skill. The elephant could farm the land, clear the forests, transport heavyweights, defend villages from attack and fight in wars. Such a valuable beast needed much care and attention if it was to be kept fit, healthy, and happy. It is believed that the particle “象” depicts a human-hand reaching-down and “feeding” an elephant. Although the earliest Oracle Bone Inscriptions of the Shang Dynasty are difficult to decipher – latter interpretations in China clearly show this arrangement.
The traditional Chinese ideogram “為” (Wei) is comprised of two-particles arranged in two- horizontal layers:
Top (upper) particle = “又” (you4)
This is a right open-hand grasping toward the left. This means to “take hold of”, “to take control of”, and “to construct”. This particle can also be used to denote the act of correct “governance” and the “control” of a situation. In other words, a situation has been firmly taken in-hand and is under control. What needs to be done – has been done - in a timely and efficient manner.
Lower (bottom) particle = “象” (xiang4)
This particle depicts an elephant. Although this ideogram can be used to discuss ivory and tusks – it also directly refers to an “elephant” such as those still found in Yunnan. The elephant is strong, majestic, and sometimes dangerous in its unpredictability. Indeed, the 16th Hexagram of the Change Classic (Yijing) is named “豫” (yu4) – which suggests that an elephant is “praised” – causing a situation of ongoing “delight”, “enthusiasm” and “reassurance”. Within ancient China the handling of an elephant was considered a vital and important skill. The elephant could farm the land, clear the forests, transport heavyweights, defend villages from attack and fight in wars. Such a valuable beast needed much care and attention if it was to be kept fit, healthy, and happy. It is believed that the particle “象” depicts a human-hand reaching-down and “feeding” an elephant. Although the earliest Oracle Bone Inscriptions of the Shang Dynasty are difficult to decipher – latter interpretations in China clearly show this arrangement.
Conclusion
The concept of “無為” (Wu Wei) is a pivotal philosophical theory as it permeates the entirety of Chinese thought and culture. This assessment holds true as it serves as an essential quality of the Chinese character. Obviously, whatever this theory represents within its natural Chinese milieu (from which it emerged) – it cannot mean the rather simplistic and sloppy English-language approximation of “doing nothing”. Indeed, if we “do nothing” – then of “無為” (Wu Wei) prevails without exercising any effort (either “for” or “against” constructive action). It would seem that “無為” (Wu Wei) suggests the ability of doing “less” to achieve “more”. This requirement varies from one situation to the next. The Master of “無為” (Wu Wei) never does “more” to achieve “less” – as what is unnecessary remains entirely unnecessary. Giving way to win is just one manifestation of this principle – sacrificing space for time is another. Even within the midst of danger – the right kind of action reduces all danger to zero. Action might involve not doing that which would trigger a violent response.
In such a situation – “standing still” (or “stilling” the mind) might be the in-action required to sway the situation. In this sense, “無為” (Wu Wei) becomes a “dynamic” lack of movement – a reality very different from fear-induced panic. The concept of “無為” (Wu Wei) – although central to Chinese culture and thought – is never deployed without decisive and debilitating “action”. This is the counter-balance. It is knowing when to deploy “stillness” that allows a rapier-like “action” that strikes right to the heart of the opponent, matter, or situation. So devastating is this counter-action - that any ability of the opponent to respond - is immediately cut-off at source. This is how the external environment – and those living things within it - is brought to a constructive “standstill”.
©opyright: Adrian Chan-Wyles (ShiDaDao) 2024.
Further Reading:
I spend much of my time conversing in the Chinese language and reading Chinese-language texts. Where possible, I give poignant Chinese-language and English-language references deemed useful to the general reader. Throughout this process I attempt to clarify and peel-back all the layers of misunderstanding and accrued redundancy – so that we might all progress as a result. Perhaps we are together gently removing the moss that obscures the pristine nature of the “uncarved block”.
English Language Reference:
Edward G Slingerland: Effortless Action – Wu-Wei As Conceptual Metaphor and Spiritual Ideal in Early China, OUP (New York), 2005
I found this book interesting, helpful, and intriguing. For many spiritual seekers of truth – the arrangement of this text may be over-academic in its approach – which I believe is the author’s intention. Although published by the “Oxford University Press” – the outlet appears to be the New York branch. Furthermore, I found the references a little anachronistic and at no time did the author attempt an etymology of the Chinese-language philosophical concept he is purporting to define and describe. I have rectified this omission through my above article. The author also reduces Chinese Ch’an Buddhism to its Japanese Zen equivalent – a habit still found within American and Japanese academia. The anti-China myth perpetuated is that Buddhism in China died-out hundreds of years ago – and that only the extant traditions in Japan are the true and genuine inheritors of these teachings. This approach attempts to ignore and negate hundreds of years of living Chinese history – and the fact that Chinese Ch’an Master Xu Yun (1840-1959) once declared contemporary Japanese Buddhism to be corrupt and not in accordance with the genuine Dharma-teachings. However, as everything can be useful, the general reader might well be able to use this work to divert into other useful texts.
Chinese Language Text:
https://baike.baidu.hk/item/無為/25933
https://www.163.com/dy/article/F5E8K35R0541A39D.html
https://www.workercn.cn/255/201912/06/191206093319443.shtml
https://www.daodejing.org/63.html
The concept of “無為” (Wu Wei) is a pivotal philosophical theory as it permeates the entirety of Chinese thought and culture. This assessment holds true as it serves as an essential quality of the Chinese character. Obviously, whatever this theory represents within its natural Chinese milieu (from which it emerged) – it cannot mean the rather simplistic and sloppy English-language approximation of “doing nothing”. Indeed, if we “do nothing” – then of “無為” (Wu Wei) prevails without exercising any effort (either “for” or “against” constructive action). It would seem that “無為” (Wu Wei) suggests the ability of doing “less” to achieve “more”. This requirement varies from one situation to the next. The Master of “無為” (Wu Wei) never does “more” to achieve “less” – as what is unnecessary remains entirely unnecessary. Giving way to win is just one manifestation of this principle – sacrificing space for time is another. Even within the midst of danger – the right kind of action reduces all danger to zero. Action might involve not doing that which would trigger a violent response.
In such a situation – “standing still” (or “stilling” the mind) might be the in-action required to sway the situation. In this sense, “無為” (Wu Wei) becomes a “dynamic” lack of movement – a reality very different from fear-induced panic. The concept of “無為” (Wu Wei) – although central to Chinese culture and thought – is never deployed without decisive and debilitating “action”. This is the counter-balance. It is knowing when to deploy “stillness” that allows a rapier-like “action” that strikes right to the heart of the opponent, matter, or situation. So devastating is this counter-action - that any ability of the opponent to respond - is immediately cut-off at source. This is how the external environment – and those living things within it - is brought to a constructive “standstill”.
©opyright: Adrian Chan-Wyles (ShiDaDao) 2024.
Further Reading:
I spend much of my time conversing in the Chinese language and reading Chinese-language texts. Where possible, I give poignant Chinese-language and English-language references deemed useful to the general reader. Throughout this process I attempt to clarify and peel-back all the layers of misunderstanding and accrued redundancy – so that we might all progress as a result. Perhaps we are together gently removing the moss that obscures the pristine nature of the “uncarved block”.
English Language Reference:
Edward G Slingerland: Effortless Action – Wu-Wei As Conceptual Metaphor and Spiritual Ideal in Early China, OUP (New York), 2005
I found this book interesting, helpful, and intriguing. For many spiritual seekers of truth – the arrangement of this text may be over-academic in its approach – which I believe is the author’s intention. Although published by the “Oxford University Press” – the outlet appears to be the New York branch. Furthermore, I found the references a little anachronistic and at no time did the author attempt an etymology of the Chinese-language philosophical concept he is purporting to define and describe. I have rectified this omission through my above article. The author also reduces Chinese Ch’an Buddhism to its Japanese Zen equivalent – a habit still found within American and Japanese academia. The anti-China myth perpetuated is that Buddhism in China died-out hundreds of years ago – and that only the extant traditions in Japan are the true and genuine inheritors of these teachings. This approach attempts to ignore and negate hundreds of years of living Chinese history – and the fact that Chinese Ch’an Master Xu Yun (1840-1959) once declared contemporary Japanese Buddhism to be corrupt and not in accordance with the genuine Dharma-teachings. However, as everything can be useful, the general reader might well be able to use this work to divert into other useful texts.
Chinese Language Text:
https://baike.baidu.hk/item/無為/25933
https://www.163.com/dy/article/F5E8K35R0541A39D.html
https://www.workercn.cn/255/201912/06/191206093319443.shtml
https://www.daodejing.org/63.html