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The term refers to the primordial state of things, unaffected by the various meanings imposed on it by man. The concept of naturalness in philosophy is different from that of nature in the ordinary sense. In daily language, the term refers to the physical world, which is independent of human interference, as opposed to human society. In philosophy, there is also a natural state of man and society. In political philosophy, “naturalness” specifically applies to the natural state enjoyed by ordinary people free from the intervention of government supervision and moral edification. Daoism holds that in governance a monarch should conform to the natural state of the people.
Dao operates in accordance with natural conditions of all things. This idea first appeared in the book Laozi, according to which “natural” means the natural state of things. Dao creates and nurtures everything, yet it does not command anything. In political philosophy, the relationship between Dao and natural things implies that between the ruler and the people. The rulers should follow the natural requirements of Dao, which places limits on their power, and govern by means of non-interference to allow the people and affairs to take their own natural course.
This term means poetry creation should present the unembellished beauty of nature and the genuine sentiments of human beings. The original meaning of yingzhi (英旨) is good taste. Used as a literary term, however, it refers to charming content and imagery in poetry. In The Critique of Poetry, Zhong Rong（？-518？） of the Southern Dynasties called on poets to express their thoughts and sentiments in their own words and opposed borrowing expressions from ancient poets. He criticized the excessive attention to ornate language and tonal rhythms in the writing of five-character-per-line poetry. He maintained that spontaneously created poems of good taste were most valuable. The expressions “natural” and “simple and unaffected” in later literary criticisms contain Zhong Rong’s ideas.
In its original meaning, dao (道) is the way or path taken by people. It has three extended meanings: 1) the general laws followed by things in different spheres, e.g. the natural order by which the sun, moon and stars move is called the way of heaven; the rules that govern human activities are the way of man; 2) the universal patterns followed by all things and beings; and 3) the original source or ontological existence of things, which transcends form and constitutes the basis for the birth and existence of all things, and for the activities of human beings. In their respective discussions of Dao, Confucianism, Daoism, and Buddhism imbue it with very different connotations. While benevolence, righteousness, social norms, and music education form the basic content of the Confucian Dao, the Buddhist and Daoist Dao tends to emphasize kong (空 emptiness) and wu (无 void).
The way of heaven refers to the basic rule governing the existence and changes of all things between heaven and earth （as opposed to the “way of man”）. Ancient Chinese interpreted the “way of heaven” in different ways. First, some believed that “the way of heaven,” especially the celestial phenomena relating to the movements of the sun, the moon, and the stars, foretell or dictate the success or failure of human affairs. In ancient times, designated officials predicted human affairs through observing celestial phenomena. Second, some believed that “the way of heaven” was the source or the basis of man’s moral conduct and of orderly human relations. One should comply with “the way of heaven,” in both words and deeds, so should human relations； and people should recognize and develop the moral nature bestowed upon by heaven so as to gain access to “the way of heaven.” Third, still others thought that there were no particular correlations between “the way of heaven” on the one hand, and moral conduct in the human world, human relations, as well as misfortune and fortune in human affairs on the other.
Wuwei (non-action) refers to a state of action. Daoism contrasts “action” to “non-action.” “Action” generally means that the rulers impose their will on others or the world without showing any respect for or following the intrinsic nature of things. “Non-action” is the opposite of “action,” and has three main points: 1) through self-control containing the desire to interfere; 2) following the nature of all things and the people; and 3) bringing into play the initiative of all things and people. “Non-action” does not mean not doing anything, but is a wiser way of doing things. Non-action leads to the result of getting everything done.
Zhi (治) here means a state of good governance; wuwei (无为non-action) does not mean doing nothing, but instead not acting in an over-assertive manner, inother words, not imposing one’s will. In Daoist thinking, this expression means the ruler must respect the natural conditions of those governed (the people); he must not interfere unduly in their lives but allow them to follow their own desires and ways to fulfill themselves. Through “non-action” everything will be actually achieved. The focus is “Dao operates naturally.” In Confucian thinking, “non-action” means the ruler governs by influencing and motivating his subjects through his moral example and achievements, not through decrees, or coercive punishments, so that they act without being ordered, and social harmony is achieved. The focus here is something similar to “teaching people essential ideals and principles and guiding them to embrace goodness so as to build a harmonious social order.” Both the Confucian and Daoist schools of thought advocate governance through respect for the intrinsic nature of people and society, not through too much interference or imposition.
This term refers to a type of writing that is classically elegant. Originally, it meant that a piece of writing should be modeled on ancient classics, express pure and noble ideas, and follow classical literary styles by using Confucian doctrines for aesthetic guidance. Later, the term shifted to emphasize elegant diction and style that were free from vulgarity and frivolity. Later still, it gradually incorporated Daoist aesthetic views, suggesting natural tranquility and spiritual transcendence. For example, in “Twenty-four Styles of Poetry,” Sikong Tu （837-908）described classical elegance as being “as quiet as falling flower petals and as modest as unassuming daisies,” which is close to the simple, relaxed, and natural style advocated by Daoist scholars.
A technique or style in creating literary works, it refers to the use of concise language in portraying a simple artistic image, whose rich feelings and implications are elicited in a subtle manner, so that readers can intuit multiple hidden meanings. One finds a straightforward and factual manner of expression in early literary and artistic works in China, as well as the subtle mode of expression. Because this technique originally evolved from Daoist thought and, in the early period, was employed as a means of criticizing powerful individuals in poetry, it stresses the expression of emotion in a subtly suggestive manner, such that the depiction of images should be supported by a rich undertone or hidden meaning that can appeal to readers. The language should be simple and plain but still leave sufficient room for readers to seize upon hidden meanings. Sikong Tu（837—908）, a literary critic in the Tang Dynasty, listed it as one of the twenty-four styles of poetry writing. Subtle suggestion imparts a high degree of unity to a writer’s cultural attainments, creative technique, as well as his literary style and imagery.
Feeling depressed and enraged, which here refers to a sense of helplessness found in poems, is one of the 24 poetic styles summarized by Sikong Tu（837-908）, a poet in the late Tang Dynasty. Faced with frustrations and tough challenges in life, or overwhelmed by the immensity of nature or major events, poets were often seized by dejection, grief, sadness, and anger, which gave rise to a “depressed and enraged” style in poetry writing. While the style bears similarity with the genre of tragedy in Western literary tradition, it is more influenced by Daoism, often featuring a sense of resignation or stoic optimism.
Natural grace, a term for poetic study (often in contrast to the “melancholy” poetic style), refers to free and unconstrained aesthetic style and artistic appeal in poetic works. It gives expression to the imagination of the poet, the natural and free disposition of his spirit, and his pursuit of aesthetic enjoyment. When in such a state of mind, the poet is “totally absorbed in his interaction with heaven and earth,” roaming freely in boundless time and space. The concept represents a poetic style in which the poet and what he portrays in his poem merge into a natural whole.
The term means broad-mindedness and a totally unconstrained artistic style in poetic works. It presents a perfect union of the author’s outlook on life, his peaceful mind, and the artistic form of his work. A broad-minded writer was often disheartened, who went into seclusion, caused either by frustrations countered in life or social turmoil, and he would naturally seek to express his emotion in literature. As reflected in his writings, such a writer possessed a keen insight into the vicissitudes of worldly affairs. Being cynical and indignant, he also revealed such feelings of disdain for the world and its ways in his writings. The origin of this attitude can be traced back to the Confucian concept of proactivity and the Daoist proposition of following the nature, as well as to the open and cultured way of life characteristic of famous scholars of the Wei and Jin dynasties. Such a writer would not shy away from the worldly, but neither would he cling to fame and wealth. He was completely reasonable in attitude and tolerant in mood. Sikong Tu（837-908）, a literary critic in the Tang Dynasty, used this term to assess poetic and aesthetic achievement by emphasizing the unity of the style of a work and the mental attitude and the view about human life on the part of the author. The idea is to promote a view about life and an aesthetic attitude that is open-minded and uplifting.
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste. In Daoist terms, the Way features the great and vast power of nature, hence the term. Powerfulness is not deliberately created by the author. Rather, it is a majestic, forceful style of artistic expression flowing naturally from the inner strength built up in a work of art itself. Powerfulness cannot be achieved artificially; it has a great deal to do with an author’s disposition and self-cultivation. Such a work has a powerful style in terms of wording, syntactic structure or presentation of imagery. Giving full expression to the author’s emotions, it creates a powerful artistic impact.
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