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X. Nan kae.
St.4. E7, not,'
,—as in st. 1 of cat. 12, t. 3; i, (prop. cat. 13; but Koolast ode. Ying-tah takes this line interroga- she contends it has here its original pronunciatively. The meaning is the same. -2, 'is tion) ... cat. 15, t. 2. gone by. T-here-73, and so it is that?
Ode 10. This is one of the six odes, which Wang Yin-che explains the line by TS
are commonly spoken of as having been lost. |--to divine by burning the tortoise shell; Choo, however, contends that they were only by manipulating the reeds. Pie has a
the names of tunes, played on the organ, and verbal force, unless we carry it on to the next
never were pieces to be sung. Before this time, line;—both together agree in saying.'
moreover, the 3d ode of the next Book was the The rhymes are-in st. 1, L. cat. 5, t.2; he changed the order of the pieces, and main
10th of this Book. For the grounds on which 1. cat
. 12, t.3; , cat. 10: in tained that the lost pieces were only names of 2,6£. $ cat, 15, tunes, see on the 1st and 20 odes of next Book. t.1: in 3, te #. cat. T, t. 2; &, the Nan-kae was—" Filial sons admonishing one
According to “the Little Preface,' the subject of cat. 14: in 4, 3*Xtr, cat. 1, t. 1; 2. MIL another on the duty of supporting their parents! .'
BOOK II. THE DECADE OF PIH HWA.
I. Pih hwa.
II. Hwa shoo.
TITLE OF THE Book.-ÉNZHt, par. but one of the Book referred to, we are told Ź = 'Decade of Pih-hwa ; Book II. of ments, all the instruments united, while the Part II.' The Pih-hwa is one of the six odes of first three pieces of the Chow Nan and the which we have only the titles, and of which, as Shaou Nan were sung ;-it is not necessary, I have just stated, Choo contends there never therefore, to conclude that the organ was played was anything more; whereas, until his time, it only with tunes to which there were no words. was supposed that the odes themselves had been The imperial editors of the E Le give their lost during the troubles of the Tsóin dynasty, opinion in favour of Choo's view, supporting it having previously existed like the other 305. mainly by a statement of Sze-ma Ts'ëen, in his Choo derived the reason for his opinion from Life of Confucius, that the Sage sang and playthe E Le (Te Tie), Pt. IV., Bk. I, which con- ed over on his lute the 305 pieces: but all which
we can thence infer, is that the words of the six tains an account of the entertainments in the pieces were lost in Confucius' time. With reDistricts (ŠĒB lik i Th. It is there gard now to the order in which the pieces are stated that, at a certain point in those entertain- arranged, I have observed on the Nan-kae, that
Maou places the third of this Book in the Dements, the musicians took their place on the ele
cade of Luh-ming, before the Nan-kae, the Pih. vated t‘ang ( ), and 'sang' to their lutes the hwa, and the Hwa-shu. Therein he is wrong. Luh-ming, the Sze-mou and the Hwang-hwang
He has 13 odes in his first decade, 13 in his chay hwa (the first three pieces of the last second, and only 4 in his tenth ;-taking no Book), and that, subsequently, the organ players
count of the six of which we have only the took their place in the court beneath, and played
titles. Këang Ping-chang, agreeing with Maou the Nun-kae, the Pih-hwa, and the Hwa-shoo.' in reckoning the 3d ode of this Book as the last The former three pieces were sung; these three
of the first, transfers the Nan-kae to the beginwere only played :—from this Choo contends that ning of this, and call his second Book the . DeNan-kae, &c., were only the names of tunes. But
cade of Nan-kae.' I cannot believe that the this conclusion is greater than the premiss war
arrangement of the odes in decades was, as Soo rants. Where did the Preface get the account Cheh argues, as old as Confucius. which it gives of the subjects of the missing pieces? They must have existed when the Pre
Ode 1. The Preface says that the subject face was made, or there must have been then a was—The unsullied purity of filial sons.' tradition about them of which the author of it made use. Nan-kae, Pih-hwa, &c., are not the Ode 2. The Preface says that the subject names of tunes, but titles evidently, like the was—“The harmony of the seasons, and the other 305, taken from the body of the pieces to abundance of the harvests, leading to a large which they belonged. Moreover, in the last produce of the millet crop.'
行 鯉魚多體。魚旨 鯊魚
1 The fish pass into the basket,
Yellow-jaws and sand-blowers.
Good and abundance of them. 2 The fish pass into the basket,
Bream and tench.
Abundance of them and good. 3 The fish pass into the basket,
Mud-fish and carp.
Good and in quantities.
were caught as they passed through the openUSED AT DISTRICT ENTERTAINMENTS, CELEBRATING ings of a dam. Maou says the chang is the yang THE ABUNDANCE OF EVERYTHING AND THE PROSPERITY OF THE TIMES. The idea of the pros
(楊) or 'the darter.' Choo says it was the perity of the times is found in the ode by yellow-jaws ( dira hob) of his day, 'like the taking both parts of the first three stanzas as allusive. That fish of so many different kinds
swallow's-head fish, its body thick, long, and should be taken in so inartificial a contrivance large; its jaw-bones quite yellow, a large and as the lew showed how good government produced strong fish, seeming to fly in leaping. The sha an abundance of all material resources; the
of this passage is described as a narrow and abundant supply of good spirits was also a proof small fish, constantly opening its mouth wide, of the general prosperity. The domain of the and spurting out sand, from which it is called king was divided into six districts + B), the “ sand-blower (pk b)."
the “ sand-blower (MK V)."' Choo identifies of which the more trusted and able officers were presented every 3d year to the king, and
the with the film, a kind of blenny, and Yen feasted, the general superintendent of each district presiding on the occasion. The same
Ts-an, after Maou, with the the tench. thing took place in the States which were divi- Maou and Choo say the yen is the filet the bullded into three districts. At the former of those entertainments, this ode was used in the first head, or a sort of mudfish. By # F is place;-but the phrase district entertainments (93 k),' had also other applications.
meant the £ , 'host,' or president at the
entertainment. K'ang-shing seems to have read Stt.1–3. W is defined by 'to pass to! # F as one line, and I This meaning of the character is not given in
as another, the referring to the provision of the dict. One of the meanings given there, 'to be attached to,' to belong to," would be suitable fish ; but evidently is always ends a line, and here. The tèt was an exceedingly simple con
the three other characters are descriptive of the trivance, made of bent bamboos, by which fish. The #1 in st. 3 is equivalent to
其有 其旨 其
4 The viands are abundant,
And they are admirable. 5 The viands are excellent,
Both from the land and the sea. 6 The viands are in quantities,
And all in season.
IV. Yeau kang.
V. Nan yëw këa yu.
1 In the south is the barbel,
And, in multitudes, they are taken under baskets.
On which his admirable guests feast with him joyfully. Stt. 4–6. *, 'articles,' is interpreted as I to the time of king Ching, and said that he was have done; 謂水陸之羞viands from the #F, princely man,' or host mentioned
in it. There is no evidence of this. the water and the land. Pet, "all together,
Ll. 1, 2, in stt. 1,2. Ch‘ing and Ying-tah take i. e., from both sources of supply.
as='fine fish,' and not any particular The rhymes are—in stt. 1, 2, 3, 79, cat.
kind of fish. That was a mistake. The këa-yu 3, t. 2: in 1, TP, cat. 17: in 2, is the barbel, 'with the body of a carp, and the cat. 15, t. 2: in 3, fill, J., cat. I, t. 2: in 4, scales of the rud.' By the south' is intended
the country about the Këang and the Han, 多,嘉,Cat. 17: in 5,旨,借,cat. 15 0.2: in
where the barbel abounds. Choo construes 6. 有時,cat. . t. 2.
2 together as a compound initial particle.
I have followed him in the construction of Ode 4. This was the 4th of the missing odes, is standing alone (II. i. IV. 4; et al.); but here whose subject, acc. to the Preface was- All
it seems better to allow to it the meaning of things produced according to their nature.' Choo um “all’ ‘multitudes;' and then it'in places it here.
multitudes’ Chaou is a basket, used to catch fish Ode 5. Allusive. A FESTAL ODE, APPROPRIATE by placing it over them, after which they are TO THE ENTERTAINMENT OF WORTHY GUESTS, taken out with the hand through a hole in the
inverted bottom. This method of fishing was The old interpreters referred it appropriate in the case of the barbel, which
CELEBRATING THE GENEROUS SYMPATHY OF THE