X. Nan kae. 陔南 St. 4. 匪=不‘not,'載 —as in st. 1 of last ode. Ying-tah takes this line interrogatively. The meaning is the same. -, 'is gone by.'-here-, 'and so it is that.' Wang Yin-che explains the line by -to divine by burning the tortoise shell; by manipulating the reeds. 偕 has verbal force, unless we carry it on to the next line;-both together agree in saying.' cat. 12, t. 3;,, (prop. cat. 13; but Kooshe contends it has here its original pronunciation), cat. 15, t. 2. Ode 10. This is one of the six odes, which are commonly spoken of as having been lost. Choo, however, contends that they were only the names of tunes, played on the organ, and never were pieces to be sung. Before this time, moreover, the 3d ode of the next Book was the 10th of this Book. For the grounds on which The rhymes are—in st. 1,,, cat. 5, t.2; he changed the order of the pieces, and main cat. 10: in 實日,cat. 12, t.3;陽傷遑 cat. 14: in 4,,, cat. 1, t. 1; tained that 'the lost pieces' were only names of tunes, see on the 1st and 2d odes of next Book. According to 'the Little Preface,' the subject of the Nan-kae was-Filial sons admonishing one .,, another on the duty of supporting their parents." BOOK II. THE DECADE OF PIH HWA. 二之二什之華白 I. Pih hwa. 華白 II. Hwa shoo. 黍華 TITLE OF THE Book.-白華之什,二 -21 = par. but one of the Book referred to, we are told Ź,'Decade of Pih-hwa; Book II. of Part II.' The Pih-hwa is one of the six odes of which we have only the titles, and of which, as I have just stated, Choo contends there never was anything more; whereas, until his time, it was supposed that the odes themselves had been lost during the troubles of the Ts'in dynasty, having previously existed like the other 305. Choo derived the reason for his opinion from the E Le(), Pt. IV., Bk. I, which contains an account of the entertainments in the Districts. It is there stated that, at a certain point in those entertainments, the musicians took their place on the elevated tang (), and 'sang' to their lutes the Luh-ming, the Sze-mow and the Hwang-hwang chay hwa (the first three pieces of the last Book), and that, subsequently, the organ players took their place in the court beneath, and played the Nun-kae, the Pih-hwa, and the Hwa-shoo.' The former three pieces were sung; these three were only played:-from this Choo contends that Nan-kae, &c., were only the names of tunes. But this conclusion is greater than the premiss warrants. Where did the Preface get the account which it gives of the subjects of the missing pieces? They must have existed when the Preface was made, or there must have been then a tradition about them of which the author of it made use. Nan-kae, Pih-hwa, &c., are not the names of tunes, but titles evidently, like the other 305, taken from the body of the pieces to which they belonged. Moreover, in the last that at the close of the music at those entertainments, all the instruments united, while the first three pieces of the Chow Nan and the Shaou Nan were sung;-it is not necessary, therefore, to conclude that the organ was played only with tunes to which there were no words. The imperial editors of the E Le give their opinion in favour of Choo's view, supporting it mainly by a statement of Sze-ma Ts'ëen, in his Life of Confucius, that the Sage sang and played over on his lute the 305 pieces: but all which we can thence infer, is that the words of the six pieces were lost in Confucius' time. With regard now to the order in which the pieces are arranged, I have observed on the Nan-kae, that Maou places the third of this Book in the Decade of Luh-ming, before the Nan-kae, the Pihhwa, and the Hwa-shu. Therein he is wrong. He has 13 odes in his first decade, 13 in his second, and only 4 in his tenth;-taking no count of the six of which we have only the titles. Keang Ping-chang, agreeing with Maou in reckoning the 3d ode of this Book as the last of the first, transfers the Nan-kae to the beginning of this, and call his second Book the Decade of Nan-kae.' I cannot believe that the arrangement of the odes in decades was, as Soo Cheh argues, as old as Confucius. Ode 1. The Preface says that the subject was-The unsullied purity of filial sons.' Ode 2. The Preface says that the subject was-The harmony of the seasons, and the abundance of the harvests, leading to a large produce of the millet crop.' 1 The fish pass into the basket, Yellow-jaws and sand-blowers. Our host has spirits, Good and abundance of them. 2 The fish pass into the basket, Bream and tench. Our host has spirits, Abundance of them and good. 3 The fish pass into the basket, Mud-fish and carp. Ode 3. Our host has spirits, Allusive and narrative. AN ODE USED AT DISTRICT ENTERTAINMENTS, CELEBRATING were caught as they passed through the openings of a dam. Maou says the chang is the yang (揚), or 'the darter.' Choo says it was 'the yellow-jaws() of his day, 'like the 'swallow's-head fish, its body thick, long, and large; its jaw-bones quite yellow, a large and strong fish, seeming to fly in leaping.' The sha of this passage is described as a narrow and small fish, constantly opening its mouth wide, and spurting out sand, from which it is called Choo identifies king was divided into six districts (六鄉), the “sand-blower (吹沙)”” of which the more trusted and able officers were presented every 3d year to the king, and feasted, the general superintendent of each district presiding on the occasion. The same thing took place in the States which were divided into three districts. At the former of those entertainments, this ode was used in the first place; but the phrase 'district entertainments had also other applications. the with the, a kind of blenny, and Yen entertainment. Stt.1-3. 麗 is defined by 歴 to pass to. 君子有酒 as another, the is 'host,' or president at the K'ang-shing seems to have read as one line, and 且多 referring to the provision of always ends a line, and This meaning of the character is not given in fish ; but evidently 時矣。物偕矣。'嘉 矣 矣。物 矣.維其矣雜其矣。維 And, in multitudes, they are taken under baskets. The host has spirits, 章 嘉南 魚有 On which his admirable guests feast with him joyfully. Stt. 4–6.物,‘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 water and the land.'偕‘all together,' i. e., from both sources of supply. The rhymes are–in stt. 1, 2, 3,番,酒, cat. 3, t. 2: in 1, 鯊多, cat.17: in 2, 鱧合, cat. 15, t. 2: in 3, 鯉有*, cat.1, t. 2: in 4, 多嘉 cat.17: in 5, 言,偕, cat. 15, t. 2: in 6, 有時, cat. 1, t. 2. Ode 4. This was the 4th of the missing odes, whose subject, acc. to the Preface was-'All things produced according to their nature.' Choo places it here. Ode 5. Allusive. A FESTAL ODE, APPROPRIATE TO THE ENTERTAINMENT OF WORTHY GUESTS, CELEBRATING THE GENEROUS SYMPATHY OF THE the 君子, ‘princely man,' or host mentioned in it. There is no evidence of this. L1. 1, 2, in stt. 1,2. Ch'ing and Ying-tah take 嘉魚 as fine fish,' and not any particular kind of fish. That was a mistake. The kea-yu is the barbel, with the body of a carp, and the scales of the rud' By ‘the south' is intended the country about the Keang and the Han, where the barbel abounds. Choo construes 烝然 together as a compound initial particle. I have followed him in the construction of 烝 standing alone (II. i. IV. 4; et al.); but here it seems better to allow to it the meaning of 衆‘all,’‘multitudes;' and then 烝然='in multitudes' Chaou is a basket, used to catch fish by placing it over them, after which they are taken out with the hand through a hole in the inverted bottom. This method of fishing was ENTERTAINER. The old interpreters referred it | appropriate in the case of the barbel, which |