Touch and Breath

“Become hard!” is the supposedly “new tablet” that Nietzsche’s Zarathustra has placed above us. It can hardly be denied that modernization in particular has relentlessly imposed a need to develop one’s hardness and strength. Is it even possible to imagine a form of modernization based on the commandment to “Become soft!”? While this is the old and always new instruction to which Lǎozǐ pointed in his advice to become like water, Nietzsche finds it unbearable. He asks, “Why so soft?”, and “Why so soft, so retiring, and yielding?” And Lǎozǐ answers that hardness is deadly: “The hard and strong are the followers of death.” Then Nietzsche responds, “Don’t you want to conquer and win?” And Lǎozǐ replies, “The soft and weak win over the hard and strong”. Where are the modernizers who believe in the old “tablet” Lǎozǐ has given us in the praise of softness and weakness? Where are the modernizers who know about the hard but are able to preserve the soft? Where are the modernizers who are able to philosophize not with the hammer but with the brush? The “good old authoritarian character” (Theodor W. Adorno) has been educated to (masculine) hardness. For this mode of being human (feminine) softness is nothing but a form of weakness on which the creator wants to put his stamp. As a philosophical source of criticism of the authoritarian character, the Daoist classic Lǎozǐ has a value that can hardly be overestimated. It moves toward a paradigm of self-relation or subjectivity in which the eye and light cannot claim primacy as the means by which humans can access the true and the good, but touch and breath form a pivot by which they can learn to walk a Way that wanders between hardness and softness. Therefore, at the centre of character formation and cultivation is a self-relation described in the sixth chapter of the Lǎozǐ  by the paradoxical image of the “ravine” (gǔ 谷). The ravine is a natural image in which the hard stone of the mountain cliffs and the soft water flowing through them belong together. At the same time, this chapter of the Lǎozǐ has been associated with the motif of the female in commentaries since antiquity. Moreover, the analogy between the ravine and the female sex organ opens up a thought-provoking approach to the relation between the female and the soft in the Lǎozǐ. However, the ravine as a paradoxical image does not stop there. Rather, the Way it suggests leads in a direction that can be summed up in the phrase “knowing hardness and preserving softness”. In the following paper, the discussion of the female and the male in relation to the soft and the hard aims at a broader reflection on a theory and practice of breath (qì 氣) that constitutes a transcultural philosophy of the Way (dàozhéxué 道哲學).