Prince Hui's cook was cutting up a bullock. Every blow of his hand, every heave of his shoulders, every tread of his foot, every thrust of his knee, every whshh of rent flesh, every chhk of the chopper, was in perfect harmony,—rhythmical like the dance of the Mulberry Grove, simultaneous like the chords of the Ching Shou.
Commentators are divided in their identifications of these ancient morceaux.
"Well done!" cried the Prince. "Yours is skill indeed."
"Sire," replied the cook; "I have always devoted myself to Tao. It is better than skill. When I first began to cut up bullocks, I saw before me simply whole bullocks. After three years' practice, I saw no more whole animals.
Meaning that he saw them, so to speak, in sections.
And now I work with my mind and not with my eye. When my senses bid me stop, but my mind urges me on, I fall back upon eternal principles. I follow such openings or cavities as there may be, according to the natural constitution of the animal. I do not attempt to cut through joints: still less through large bones.
For a curious parallelism, see Plato's Phædrus, 265.
"A good cook changes his chopper once a year,—because he cuts. An ordinary cook, once a month,—because he hacks. But I have had this chopper nineteen years, and although I have cut up many thousand bullocks, its edge is as if fresh from the whetstone. For at the joints there are always interstices, and the edge of a chopper being without thickness, it remains only to insert that which is without thickness into such an interstice.
These words help to elucidate a much-vexed passage in ch. xliii of the Tao-Tê-Ching. See The Remains of Lao Tzŭ, p. 30.