Heaven Fire Tongren: Confucian-Daoist Dialogue and the Investigation of Ancient Spiritual Origins from a Pre-Qin Perspective

Chapter Ten: Tóng Rén from the Perspective of Ancient Mythology and Folklore

Section 1: Fire Worship—The Original Experience of Human Aggregation

The lower trigram of the Tóng Rén hexagram is Li—Fire. Among all natural forces, fire has the most fundamental significance for the formation of human society.

I. Fire and Human Aggregation

Imagine the lives of ancient peoples: they gathered and hunted individually during the day, returning to their settlements at night around a central fire. The fire provided warmth, drove away wild beasts, illuminated the darkness, and cooked food. Primitive peoples sat around the fire, sharing food, recounting the day’s experiences, and telling myths—this was the most primordial experience of "aggregation."

The original image of Tóng Rén may well be such a scene: a group of people sitting around a bonfire, the firelight reflecting on every face, warming every body. Within this firelight, people sensed each other's presence and felt their belonging as a "group."

The Han Feizi (Five Parasites) records a myth about fire from ancient times:

"In the age of high antiquity, people were few and beasts many; people could not overcome birds and beasts and insects. A sage arose, who constructed nests by joining wood to avoid the multitudes of harm, and the people were pleased with him, making him king over all under Heaven, calling him Youchao-shi (Nest-Builder)." "The people ate fruits, nuts, clams, and mussels, which smelled foul and injured their stomachs, causing many illnesses. A sage arose, who drilled wood to obtain fire to transform the raw and stinking, and the people were pleased with him, making him king over all under Heaven, calling him Suiren-shi (Fire-Driller)." (韩非子·五蠹)

Suiren-shi "drilled wood to obtain fire to transform the raw and stinking"—he invented the method of obtaining fire and used it to cook food. The people were delighted ("the people were pleased with him"), and they made him king over all under Heaven. This myth reveals the core role of fire in the formation of human society: the use of fire transformed scattered individuals into an organized group—because fire needed maintenance (it could not be allowed to go out) and sharing (one fire could warm many people)—people naturally gathered around the fire. Fire is inherently a force of "aggregation."

From this perspective, the symbolic meaning of the Li trigram (Fire) in Tóng Rén is enriched—it represents not only "Brightness" and "Civilization" but also the most primordial experience of human aggregation. Heaven (Qian) is above, Fire (Li) is below—Heaven covers the earth, and Fire burns on the earth, and people sit around the fire looking up at the sky—this is the original image of "Heaven and Fire gather in accord."

II. The Symbolism of "Fire" in Pre-Qin Texts

The Book of Odes (Shi Jing, Lesser Odes of the Kingdom, Tíng Liǎo) describes the firelight in a palace:

"How is the night$13 The night is not yet ended, the light of the courtyard fire shines. The noble man is here, the sound of the luan bird is clear and resonant." (夜如何其？夜未央，庭燎之光。君子至止，鸾声将将。)

The "courtyard fire" (tíng liáo) refers to large fires lit in the courtyard (or bonfires). In the darkness, the brightness of the courtyard fire attracts the arrival of the "noble man"—is this not the image of Tóng Rén$14 Brightness (Fire) attracts those of high virtue (the noble man) to gather around it.

The Book of Documents (Pan Geng) includes words from Pan Geng during the relocation of the Yin capital:

"If it is like fire blazing across the plain, you cannot approach it casually. Can it still be extinguished$15" (若火之燎于原，不可向迩。其犹可扑灭？)

Pan Geng compares the unstoppable force to fire blazing across the plain. Fire burning in the open field—this image corresponds to "Gathering in Accord in the wilds": in the broadest space, Fire (brightness, passion, attraction) rises toward Heaven, drawing everyone to gather around it.

Section 2: The Worship of Heaven—A Common Belief Transcending Tribes

The upper trigram of Tóng Rén is Qian—Heaven. In the belief system of ancient peoples, "Heaven" occupied the highest position.

I. The Mandate of Heaven

In the ancient belief system, "Heaven" was the supreme ruler of all things. King Tang of Shang declared before conquering the Xia Dynasty in the Book of Documents (Tāng Shì):

"The Xia has many crimes; Heaven commands its destruction. ... I fear the Supreme God; I dare not but be upright." (有夏多罪，天命殛之。……予畏上帝，不敢不正。)

"Heaven commands its destruction"—Heaven commands his overthrow. In the ancient conception, the command of Heaven held supreme authority—it transcended any individual, any tribe, any state.

This profoundly connects with the "responding to Qian" in the Tóng Rén hexagram. Six Two "responds to Qian"—corresponding to Heaven—meaning she receives Heaven's approval and support. In the context of ancient belief, if a person or a tribe received the "Mandate of Heaven," they possessed a legitimacy that transcended tribal boundaries—because Heaven is the common sovereign of all, and Heaven's command is valid for everyone.

The reason the Way of Tóng Rén can transcend clan and regional boundaries to face all people under Heaven lies precisely in its foundation in "Heaven"—a transcendent authority universally acknowledged by all.

II. The Connection Between Heaven and Fire—The Rite of Heaven Sacrifice

In ancient sacrificial rites, Heaven and Fire were closely linked. The ceremony of sacrificing to Heaven often required the use of fire—burning sacrificial offerings so that smoke and flame rose toward Heaven, serving as the medium for communication between the human and celestial realms.

The Rites of Sacrifice (Jì Fǎ, though the philosophical origins of this chapter are debated, its basic description of Heaven sacrifice reflects ancient reality) records:

"Burning dry wood on the Altar of Grand Sacrifice is to sacrifice to Heaven." (燔柴于泰坛，祭天也。)

Burning firewood on a high altar to sacrifice to Heaven—this is the oldest method of Heaven sacrifice. Flames rise toward Heaven, and smoke fills the sky—this scene is the original religious image of "Heaven and Fire gathering in accord."

Why use fire for Heaven sacrifice$16 Because fire is the only natural force capable of "ascending" from the ground to the sky—water flows down, earth stays on the ground, metal is heavy—only fire can rise upward to connect with Heaven. Therefore, fire became the natural bridge for communication between the human and celestial realms.

During the ritual of Heaven sacrifice, people from different tribes and clans gathered together, praying to Heaven in unison—at that moment, they transcended the differences and contradictions of daily life and became a group that collectively faced Heaven. This might be the oldest archetype of Tóng Rén—in the face of common belief, people naturally aggregate into one.

Section 3: Totems and Clans—The Ancient Roots of "Classifying Lineages and Distinguishing Things"

The "Classifying Lineages" (lèi zú) mentioned in the Daxiangzhuan might have a more specific meaning in the ancient context.

In ancient clan society, each clan had its own totem—an animal, plant, or natural phenomenon that they believed they were specially related to. Different totems identified different clans, allowing people to distinguish "my clan" from "other clans."

"Classifying lineages" (lèi zú)—categorizing according to lineage—the original practice might have been distinguishing different clans based on their totems. And "distinguishing things" (biàn wù) might relate to the ancient categorization of the natural world by early peoples: which animals could be hunted, which plants could be eaten, where one could live—the accumulation and transmission of this knowledge was the most fundamental "distinguishing of things."

Within the framework of the tribal alliance, different clans maintained their distinctiveness (each with its own totem and customs), but they united to face challenges from nature together—this is the unification of "classifying lineages and distinguishing things" with the Way of Tóng Rén.

The Discourses of the States (Chǔ Yǔ II) records the words of Guan Shefu:

"In antiquity, the spirits of the people and the spirits of Heaven did not mix... When the refinement and sincerity of the people did not waver or turn aside, and they were able to maintain sincerity and correctness in their hearts, their wisdom could align with the meaning of those above and below; their sagehood could illuminate the distant and spread widely; their brightness could illuminate clearly; their hearing could pierce through. If they were like this, the bright spirits would descend upon them; if male, they were called xi (shaman); if female, they were called wu (sorceress)." (古者民神不杂。...其圣能光远宣朗，其明能光照之，其聪能听彻之。如是则明神降之，在男曰觋，在女曰巫。)

In ancient times, there were clear divisions of labor and means of communication between the people and the spirits. "The bright spirits descended"—and those capable of receiving the descent of spirits must possess qualities like "illuminating the distant and spreading widely" and "clear illumination." The terms "light," "brightness," and "illumination" all closely relate to the symbol of Li (Fire, Brightness).

The Witch (xi) and Sorceress (wu) served as intermediaries between humanity and the spirits, much like Six Two in the Tóng Rén hexagram—through the virtue of bright centrality, they communicated between above (Heaven/Spirits) and below (Earth/People), causing the entire group to unite spiritually.

Section 4: Ancient Flood Myths and "Advantageous for Crossing the Great River"

The phrase "advantageous for crossing the great river" in the Tóng Rén hexagram statement also has rich echoes in ancient mythology.

The most famous ancient story of water crossing is undoubtedly Yu the Great controlling the floods (Dà Yǔ Zhì Shuǐ). A key factor in Yu the Great's success was his ability to unite the strength of all tribes—Tóng Rén—to collectively resist the flood.

The Book of Documents (Gāo Yáo Mó) records Yu's words:

"I traveled on four kinds of conveyances, cutting paths through the forests. I assisted Yi in presenting the various rare foods. I dredged the nine rivers and led them to the four seas. I cleared the channels and ditches, leading them to the rivers. I assisted Ji in sowing, and presented the various rare foods. I skillfully exchanged goods and moved residences. The people finally had grain, and the myriad states were ordered." (予乘四载，随山刊木。暨益奏庶鲜食。予决九川，距四海。浚畎浍，距川。暨稷播，奏庶艰食鲜食。懋迁有无化居。烝民乃粒，万邦作乂。)

Yu traveled on four conveyances (carts, boats, sleds, litters), cutting paths through the mountains, dredging the nine rivers to the four seas—this is precisely the feat of "crossing the great river." And in this process, Yi assisted with hunting, and Ji assisted with sowing—everyone had their duties and utilized their abilities—this is the practice of Tóng Rén.

The story of Yu controlling the floods tells us: facing immense challenges like floods, the strength of one person is insufficient; one must "accord with others" (tóng rén)—unite the strength of all people. And to unite all people, one needs a leader like Yu the Great—who prioritized the world, held righteousness paramount, and set an example through self-discipline—"wearing out his body and scorching his mind, spending thirteen years outside his home without daring to enter his door." Yu is the archetype of the "noble man" in "advantageous for the noble man to persevere."

Section 5: The Ancient Image of the "Wilds"—Aggregation in the Open Fields

The "wilds" (yě) in "Tóng Rén yú Yě" also held a special significance in the lives of ancient peoples.

Before the advent of settled agriculture (or in nomadic life), the "wilds"—the vast open plains—was the primary space of human existence. Ancestors hunted and gathered in the wilds, and they also held large assemblies and sacrificial ceremonies there.

The Rites of Zhou (Zhou Li) records the rite of "Great Hunting" (Dà Tián)—large-scale hunting expeditions. Although the compilation date of the Zhou Li is debated, the hunting system it preserves clearly has ancient origins. In large hunts, people from different regions gathered in the wilds, participating together in the hunt—this was simultaneously a military drill, a social activity, and an opportunity to build relationships and trust between different groups.

The Book of Odes (Zhèng Fēng, Shū Yú Tián) depicts a hunting scene:

"Uncle goes to the fields, and in the alleys there are no residents. Are there no residents$17 They are not like Uncle. Truly fine and benevolent. Uncle goes hunting, and in the alleys there is no drinking. Are there no drinkers$18 They are not like Uncle. Truly fine and lovely. Uncle goes to the wilds, and in the alleys there are no saddled horses. Are there no saddled horses$19 They are not like Uncle. Truly fine and martial." (叔于田，巷无居人。岂无居人？不如叔也。洵美且仁。叔于狩，巷无饮酒。岂无饮酒？不如叔也。洵美且好。叔适野，巷无服马。岂无服马？不如叔也。洵美且武。)

"Uncle goes to the wilds" (shū shì yě)—that outstanding man goes to the wilds. In the field activities of the wilds, he displays his valor and charm—"truly fine and martial"—attracting everyone's admiration. This bond established through shared activities in the wilds is an original form of "Tóng Rén."

Consider the Book of Odes (Zhào Nán, Zōu Yú):

"Those young reeds, one shot felled five wild boars! Oh, the Zou Yu the divine stag!" (彼茁者葭，壹发五豝，于嗟乎驺虞！)

During the hunt, one arrow felled five boars—people marveled at the hunter's skill, and in this shared amazement, a collective sense of identity was forged. Shared experiences in the wilds—facing danger together, sharing the harvest together—are the most effective means of Tóng Rén.

Section 6: Music and Dance in Tóng Rén

In ancient society, music and dance were among the most effective means of aggregating people's hearts. The Lüshi Chunqiu (Ancient Music, though a late Warring States work, it preserves many legends of ancient music and dance) records stories of ancient sage-kings composing music.

The Book of Documents (Shùn Diǎn) records:

"The Emperor said: 'Kui! I command you to take charge of music, to instruct the young sons. Be upright yet warm, generous yet serious, vigorous yet not tyrannical, simple yet not arrogant. The poems express intent, the songs prolong the words, the sounds follow the prolongation, the pitches harmonize the sounds. The eight tones are completely harmonious, none overstepping the others, so that spirits and men are in accord.' Kui replied: 'Ah! When I strike the stone and beat the stone, all beasts dance in attendance.'" (帝曰：夔！命汝典乐，教胄子。直而温，宽而栗，刚而无虐，简而无傲。诗言志，歌永言，声依永，律和声。八音克谐，无相夺伦，神人以和。夔曰：於！予击石拊石，百兽率舞。)

"The eight tones are completely harmonious, none overstepping the others, so that spirits and men are in accord" (bā yīn kè xié, wú xiāng duó lún, shén rén yǐ hé)—the eight kinds of musical instruments, made of different materials, produce different sounds, but they cooperate harmoniously under the coordination of the musician, leading to accord between spirits and men. "All beasts dance in attendance"—the appeal of music is so great that even the wild beasts dance along. This describes the highest form of Tóng Rén achieved through music—not only accord between people but even accord between people and beasts, and between people and spirits.

The power of music lies in its ability to directly move people's hearts and consolidate their unity without resorting to verbal reasoning. When a group sings the same song and dances the same dance, they naturally sense each other's presence and connection—this feeling does not require "understanding," only "resonance."

Confucius greatly valued music. The Analects (Taibai) records:

"The Master said: 'To be aroused by the Odes, to establish oneself by Rites, and to be perfected by Music.'" (兴于诗，立于礼，成于乐。)

"Perfected by Music" (chéng yú yuè)—the final perfection of character is achieved through music. Music enables people to reach the highest spiritual state—a state of harmony, joy, and integration with Heaven, Earth, and all things. This is the ultimate expression of the Way of Tóng Rén.