《抱朴子外篇》Vol. 46

Some argue that virtue (De) is fundamental while literary works are peripheral, hence in Confucius' four disciplines (virtue, speech, government affairs, literature), literary arts never ranked first. By this logic, written words are mere dregs—as disposable as straw dogs used in ancient sacrifices. Such devaluation of literature deserves reconsideration.

Ge Hong (Baopuzi) responds thus: Fishing gear may be discarded, but remains indispensable until the fish is caught; writings may be abolished, but remain essential until the Dao is fully realized. As for the breadth and subtlety of literary expression, the elegance or crudeness of phrasing, the depth of intellectual lineage, and the richness of embodied principles—these differences are as vast as the distance between celestial spheres and a hair's tip, immeasurable as the radiance of sun, moon and stars. The龙泉 (Longquan) sword and leaden blades cannot compare their sharpness; a swan's feather and gold ingot cannot balance their weight. Yet ordinary observers, seeing only ink on paper, generalize indiscriminately. This explains why伯牙 (Boyá) eternally longed for his appreciative friend钟子期 (Zhong Ziqi), and why the master carpenter匠石 (Jiang Shi) dared not wield his axe before郢人 (Ying's artisan).

Countless practice carpentry, yet only鲁班 (Lu Ban) and狄牙 (Di Ya) achieved mastery; many play the qin, yet only夔 (Kuí) and师襄 (Shi Xiang) gained renown for sublime music; stables hold thousands of horses, yet only骐骥 (Qijì) stand out; among countless beauties, only毛嫱 (Mao Qiang) and西施 (Xi Shi) possessed peerless charm—all because they transcended the ordinary. The relationship between literature and virtue resembles ten chi versus one zhang (actually equal lengths). To claim literature secondary is unprecedented. The八卦 (Bagua) emerged from hawk feather patterns, the六甲 (Liujia) divination from tortoise shell markings—writings carry the Dao. While honoring roots, we need not despise branches. Brocade requires plain cloth as foundation; pearls grow within oyster shells; clouds arise from tiny vapors; rivers begin as slender streams. Understanding this, denigrations of literature collapse.

He further states: The应龙 (Yinglong dragon) ascends celestial heights with slight wingbeats;汗血宝马 (sweat-blood steeds) traverse a thousand li between breaths. Thus ants cannot comprehend their stairless ascent, nor plow horses their leap beyond gradual progress. Those confined to poetic debates, limited to single classics, judging the extraordinary by common measures or fathoming infinity with narrow minds—from youth to white-haired age, they'll achieve little. Moreover, people invariably venerate antiquity while disparaging the present...

Now when I hear things people praise or see what they admire, even if there were horses swift enough to outrun the wind and surpass light and shadow, people would still say they cannot compare to those trained by Bole (the ancient horse master). Even if there were luminous jades worth entire cities that glow at night, people would still say they cannot compare to the jade for which Bian He (the Spring and Autumn period jade presenter) wept. Even if there were swords sharp enough to cleave galloping horses and carve flying birds, people would still say they cannot compare to those forged by Ou Yezi (the ancient swordsmith). Even if there were miraculous medicines capable of reviving withered trees and restoring life to decayed bones, people would still say they cannot compare to the prescriptions prepared by Bian Que (the legendary physician). Even if there were scholars of extraordinary talent and unparalleled virtue, people would still say they cannot compare to the sages of antiquity.

This passage employs five parallel comparisons to reveal people's blind reverence for the past: when faced with the finest horses, jades, swords, medicines, and scholars of the present age, they invariably claim these cannot match the legendary standards of ancient times. By invoking allusions such as "Bole's training" and "Bian He's tears," the author vividly illustrates this widespread tendency to esteem the past while undervaluing the present.