1 Introduction

Paul Claudel, a French poet, playwright, and diplomat, was widely celebrated in France and played a significant role in cultural exchanges between China and France. In 1895, Claudel was appointed to a position in China, forging a profound bond with the country. His 14 years in China became the golden period of his literary career, during which traditional Chinese culture and philosophical thought, particularly Daoist ideas, deeply influenced his work. Claudel held a special affinity for Daoist thought, finding it aligned with the principles of Symbolist poetics. Symbolism’s pursuit of the connection between humanity and the world resonated with the Daoist concept of "the unity of heaven and humanity"; his ethereal and朦胧 poetic style echoed the Zhuangzian ideal of "free and easy wandering." This paper will explore Claudel’s engagement with Daoist thought by examining his life experiences, analyzing its impact on his creative philosophy, aesthetic views, and philosophical outlook, and highlighting the active role his works played in disseminating Daoist ideas, as well as their influence on the evolution of Western thought through cross-cultural dialogue.

2 The Harmony of Unity Between Heaven and Humanity

As a Catholic and an inheritor of Symbolist creative ideals, Claudel firmly believed in the existence of an "ideal world" and sought to unify the self with the external world in his works. After encountering Daoist thought, his conviction grew stronger. Christianity, Symbolism, and Daoism coexisted in Claudel’s worldview, all emphasizing harmony and unity between humanity and the external world, as well as between humanity and all things. The Daoist concept of "harmony" (和) influenced Claudel, who integrated it into his own system of thought, forming a unique perspective on harmony. In works such as *The Wanderer* and *The City*, Claudel depicted scenes of harmonious coexistence among all things. Drawing inspiration from Eastern philosophy, he placed humanity and the natural world on opposite ends of a scale, contemplating how to achieve balance. Claudel’s view of harmony also manifested in his appreciation and interpretation of traditional Chinese architecture and gardens. He embraced the Daoist idea of "becoming one with heaven" (与天为一), advocating for the integration of human-made landscapes with natural scenery. In his poetics, Claudel sought to capture the "breath of the divine" and the "breath of the body" through the rhythm of poetry, emphasizing the shared qualities of poetry, music, and painting. His poetic philosophy can be traced to the keyword "harmony" or "accord" (和音), referring to the harmonious melody of all things. Claudel envisioned the world as a symphony, where each element had its own melody, interweaving to form a unified and harmonious composition. This chapter begins with Claudel’s reverence for nature and his belief in harmonious coexistence between humanity and the natural world, extends to his interpretation of traditional Chinese architecture and gardens, and delves into his poetic theory that "all things exist in harmonious melody and tone," demonstrating the alignment of his harmonious vision with the Daoist ideal of "the unity of heaven and humanity."

3 The Simplicity of Few Desires

This section explores the Daoist concept of "few desires and little selfishness" (少私寡欲), which emphasizes preserving one’s natural and pure essence by reducing selfish desires and distractions. In the *Daodejing*, Laozi argues that excessive material temptations make it difficult to retain one’s true heart, and thus one should return to one’s innate nature, follow the natural way, and minimize selfish desires to align with the principle of "the Dao follows nature" (道法自然). Claudel agreed with this view, observing that modern society’s pursuit of material wealth had led people to be dominated by greed. In China, he discovered a spiritual paradise and felt drawn to the natural, unadorned way of life untouched by modern civilization. Claudel regarded "water" as a symbol of the Holy Spirit and purity, echoing the Daoist saying "the highest good is like water" (上善若水). He believed humans should emulate water’s clarity, purity, and selflessness. He opposed selfishness and hedonism, viewing them as causes of spiritual impoverishment. Claudel’s plays often explore the conflict between material and spiritual pursuits, as well as between desire and morality, reflecting his pursuit of "few desires and little selfishness." By distancing himself from the materialistic modern West and seeking solace in the natural simplicity of the East, he found spiritual freedom and tranquility.

4 The Ethereality of the Useless

This section examines how Claudel drew inspiration from Daoist thought, particularly the concepts of "the usefulness of the useless" (无用之用) and "ethereality" (空灵). Through the *Daodejing* and Zhuangzi’s philosophy, Claudel recognized the value of "emptiness" (空) and incorporated it into his artistic and poetic vision. He linked the "blank space" (留白) technique in Chinese landscape painting to artistic creation, arguing that blank space was not merely part of the artwork but also the source of its vitality. In *The Eye Listens*, Claudel applied the blank space technique to his critiques of painting and music, emphasizing its importance in art. Furthermore, Claudel admired the independent structure and ideographic power of Chinese characters, noting how their arrangement and blank spaces provided room for imagination, serving as a bridge between author and reader. He connected this characteristic of Chinese characters to poetic creation, proposing the "theory of life’s breath" (生命呼吸说), which held that the rhythm and melody of poetry should flow naturally, like breathing. Claudel criticized artificially imposed poetic meters, advocating instead for poetry with natural rhythm and cadence, where blank spaces and pauses were essential for expressing thought and spirit. This perspective shaped his poetic style, later termed "Claudelian verse."

5 Conclusion

Claudel’s interest in and study of Daoist thought facilitated cultural exchange between China and France. His pursuit of harmony between humanity and nature, his adherence to simplicity and authenticity, and his practice of an aesthetics of emptiness were all reflected in his works, which embody Daoist characteristics—particularly in his views on nature, poetics, life philosophy, and artistic expression. Claudel’s literary creations reveal a spiritual quest aligned with Daoist thought, offering new perspectives for understanding his works and providing insights for dialogue and mutual understanding between Chinese and French civilizations.