《抱朴子外篇》Vol. 45

Ge Hong (Daoist name Baopuzi) discusses in the "Hundred Schools" chapter: Although the writings of various philosophical schools differ in literary style—some elegantly refined, others grand and majestic—they all represent the crystallization of profound contemplation by talented scholars. Confucian classics resemble an ocean of moral principles, while the works of other schools flow into it like rivers. Viewed from above, they appear as stars surrounding the sun and moon; observed from below, they resemble forests setting off towering mountains.

Yet some scholars fixate exclusively on a single school of thought, like those who cling to a well while ignoring the vast sea, ultimately trapped in shallow mires without hope of breakthrough. The writings of various masters explore profound and mysterious truths, displaying boundless ideas—neither constrained by convention nor deviating from the proper path. These works possess a lofty and profound style, akin to perilous peaks difficult to ascend—those who prefer only sweet or sour flavors cannot discern their true taste, and narrow-minded thinkers fail to grasp their essence.

The ancients often lamented the rarity of true talent, which is why even after centuries, people still follow in the footsteps of past sages. One should not deny the value of luminous pearls simply because fine jade does not come from Mount Bantong, nor should one disregard teachings beneficial to moral cultivation merely because they were not written by the Duke of Zhou or Confucius. Just as vessels for extinguishing fires may differ while their purpose remains the same, or acupuncture techniques vary while their healing principle is identical.

Those with narrow perspectives stubbornly cling to their own views, failing to understand how scattered fragments can accumulate into mountains, or how small sums gathered can reach vast numbers. Obsessed with trivial poetry and rhapsodies, they overlook the profound discourses of the masters, leading to confusion between truth and falsehood, or mixing precious jade with worthless stone. This is like performing refined music in the rustic setting of Sangjian, or embroidering dragon patterns on coarse cloth—truly lamentable. Such errors are far more numerous than just one or two!

(Note: "Bantong" refers to the legendary mountain where fine jade was produced; "Sangjian" denotes the realm of folk music; "dragon patterns" symbolize ornate decorations.)