Unlike the Crowd
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絕學無憂。唯之與阿相去幾何?善之與惡相去何若?人之所畏,不可不畏。荒兮其未央哉!眾人熙熙如享太牢,如春登臺。我獨怕兮其未兆,如嬰兒之未孩;乘乘兮若無所歸。眾人皆有餘而我獨若遺。我愚人之心也哉!沌沌兮,俗人昭昭,我獨若昏;俗人察察,我獨悶悶。忽兮若海,漂兮若無所止。眾人皆有以而我獨頑似鄙。我獨異於人而貴食母。
Cut off learning, and there is no worry. A polite “yes” and a careless “eh”: how far is one from the other? Good and bad: how far is one from the other? What people fear, one may not fail to fear. So wild, and still no end to it! The many people are bustling and merry, as if feasting at a great banquet, as if climbing a terrace in spring. I alone am still, not yet showing a sign, like a newborn child that has not yet smiled; riding on and on, as if I had nowhere to go home to. The many people all have more than enough, but I alone seem to fall short. Mine is a foolish man’s heart indeed! Muddled, muddled! Common people are bright and clear; I alone seem in the dark. Common people are sharp and quick; I alone am dull and closed. Vague, like the sea; drifting, as if with nowhere to stop. The many people all have something to do, but I alone am stubborn and seem crude. I alone am different from others, and I prize feeding on the mother.
The chapter's most personal turn: a first-person self-portrait of someone unlike the crowd, closing on the claim that he alone draws on the Way itself.
The book turns personal here, and everything the speaker says of himself sounds like failure beside the busy, sharp crowd. The last line names the reason: he alone draws his nourishment from the mother, the Way, which the crowd has stopped tasting.
This is the least stable of chapters 11 to 20: the real wording differs from Wang Bi's parallel text at roughly a dozen points, beyond mere print-glyph variants. The most striking is 乘乘, which Heshang Gong's own commentary explicitly glosses as 乘 read “in the level tone”, that is “ride”, against Wang Bi's reduplicated 儽儽, “listless, unmoored”: two different pictures for the same drifting feeling. Several other lines (怕/泊, 若昬/昏昏, 忽/澹, 漂/飂) follow the same pattern, close in feeling and genuinely different in wording.
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