1 Introduction

This section discusses the multifaceted nature of "游" (you) in Confucian culture, noting that it encompasses connotations of leisure, seriousness, and critique. The Confucian attitude toward "游" is reflected in the ethical precepts of the *Analects*; later, the practices of "宦游" (official travel) and "壮游" (grand tour) served specific social functions, while "游于艺" (wandering in the arts) absorbed the Daoist attitude of "逍遥游" (carefree wandering), adding elements of relaxation and lightheartedness. Additionally, it explores how to select appropriate equivalent terms to translate "游" in a way that conveys its spiritual connotations, which tests the linguistic skill of sinologists and their understanding of the traditional Chinese culture of "游."

2 The Image of Confucius as a Traveler and the Conflict between Emotion and Ritual in English Translations of Chapter 19 of the *Analects: Liren Pian*

This section delves into Confucius’s concept of "游" as presented in Chapter 19 of the *Analects: Liren Pian* and how its English translations reflect the image of Confucius as a traveler and the conflict between emotion and ritual. On one hand, although Confucius advocated that "while parents are alive, one should not travel far," he himself traveled extensively among various states. This contradiction is interpreted differently in the English translations by various sinologists. Early missionary sinologists, such as James Legge, associated Confucius’s travels with missionary work, emphasizing his motivation to spread ideas and his resolute image. Later sinologists, like Lionel Giles and Arthur Waley, tended to view Confucius as a reformer, cultural disseminator, or even an adventurer. Their translations gradually shifted from phrases like "go abroad to a distance" to more positive terms like "travel," reflecting a changing perception of Confucius’s image as a traveler. On the other hand, the section focuses on the conflict between emotion and ritual as reflected in the diverse English translations of "游." Sinologists often use words like "travel," "wander," and "journey" to translate "游," but these terms struggle to convey the deeper meanings of "游" in Confucian culture. In traditional Chinese culture, the conflicts between "filial piety" and "loyalty," "emotion" and "righteousness," and "private" and "public" are vividly expressed in the concept of "游." For instance, the tension between official travel and filial piety, as reflected in the poetry of Li Bai and Meng Jiao, and sinologists’ critiques of Confucian filial ideals as lacking personal principles or being overly dogmatic, highlight these contradictions. Sinologists’ interpretations of "游必有方" (when traveling, one must have a proper destination) often focus on practicality while overlooking the underlying conflict between emotion and ritual, revealing the limitations of their understanding of Confucian thought within their own cultural contexts.

3 Examining Entertainment in the Confucian View of Self-Cultivation through "乐佚遊" and "游于艺"

This section explores the complexity and diversity of the Confucian spirit of "游" in the process of English translation, particularly the differences and issues in translating and understanding "乐佚遊" (delighting in idle wandering) and "游于艺" (wandering in the arts). In the translation of "乐佚遊," the shift from earlier, more accurate terms like "idleness" and "sauntering" to later, more pejorative translations such as "dissolute life" reflects changing modern attitudes toward idleness and the enduring taboo surrounding the concept of "dissipation." The divergence in translating "游于艺" reveals sinologists’ confusion in understanding the Confucian attitude toward entertainment within self-cultivation. They waver between viewing it as self-cultivation or leisure, and between praise and criticism, struggling to grasp the dual nature of the "游" spirit. Additionally, the section notes that although the word "wander" aligns well with the意境 (artistic conception) of "游于艺," most sinologists have not chosen it, possibly due to the influence of English translations of the *Zhuangzi*. By analyzing the translations and interpretations of various sinologists, this section illustrates the challenges and dilemmas in understanding and disseminating the Confucian spirit of "游" across cultural contexts.

4 Confucius Wandering? A Comparison of English Translations of "游" in the *Analects* and the *Zhuangzi*

This section delves into the differences and connections in the English translations of the Confucian spirit of "游" in the *Analects* and the *Zhuangzi*. In English translations of the *Analects*, the translation of the character "游" is uncertain, with terms like "travel" and "wander" often used interchangeably. In the case of "游于艺," only David Hinton chose "wander in the arts." In the *Zhuangzi*, the character "游" appears frequently, and translations often use words like "wander" and "ramble," which carry connotations of spirituality and freedom. Sinologists’ insufficient understanding of the polysemy of "游" has led to confusion in translation. However, translators who have worked on both texts, such as James Legge, Burton Watson, and David Hinton, demonstrate greater accuracy in translating "游" in the *Analects*. They recognize the distinction between "游" in Confucianism and Daoism and reflect this difference in their translations. They view "游于艺" as a positive, enjoyable, and free spiritual experience that resonates spiritually with the Daoist "逍遥游" (carefree wandering). Scholars like Tu Weiming and Xu Fuguan also point out the spiritual commonality between the practical spirit of Confucian "游于艺" and the free realm of Daoist "逍遥游." They argue that Confucian "游" is a means of internal transcendence, and although its path differs from Daoist "逍遥," both aim for the freedom and creativity of the mind. The translation work of sinologists not only reveals the complexity of "游" in the *Analects* but also showcases the diversity of Confucius’s image and the scenery of his wanderings.