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1. A master of the art of war has said, 'I do not dare to be the host (to commence the war); I prefer to be the guest (to act on the defensive). I do not dare to advance an inch; I prefer to retire a foot.' This is called marshalling the ranks where there are no ranks; baring the arms (to fight) where there are no arms to bare; grasping the weapon where there is no weapon to grasp; advancing against the enemy where there is no enemy. 2. There is no calamity greater than lightly engaging in war. To do that is near losing (the gentleness) which is so precious. Thus it is that when opposing weapons are (actually) crossed, he who deplores (the situation) conquers.

1. A master of the art of war has said, 'I do not dare to be the host (to commence the war); I prefer to be the guest (to act on the defensive). I do not dare to advance an inch; I prefer to retire a foot.' This is called marshalling the ranks where there are no ranks; baring the arms (to fight) where there are no arms to bare; grasping the weapon where there is no weapon to grasp; advancing against the enemy where there is no enemy. 2. There is no calamity greater than lightly engaging in war. To do that is near losing (the gentleness) which is so precious. Thus it is that when opposing weapons are (actually) crossed, he who deplores (the situation) conquers.

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Attribution & collection notes
Author or tradition
Laozi (traditional attribution)
Attribution: attributed
Country attributed
Not established
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Historical period
Historical period not yet established
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Recorded source
The Tao Teh King, or the Tao and its Characteristics (James Legge English translation)

Complete printed chapter 69; James Legge translation; Undated digitized James Legge English edition; printed publication year/publisher not supplied in this cached text

A collection's publication date can be later than the words it records.

The voice behind the words.

Laozi (traditional attribution): Ming-dynasty depiction; not a lifetime portrait

Traditional attribution of the Tao Teh King, represented here by complete numbered chapters in James Legge’s English translation. Historical identity, authorship and dates are disputed; no lifetime or composition year is assigned. Read within the transmitted text, rather than treating traditional attribution as independent verification.

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