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VIII.

Yew e.

儀由

IX. Luh sëaou.

者為瀼。蓼以
瀼以寫兮。
寫兮。蓼
彼有兮。旣
。旣彼

心。

參彼蕭斯零露湑

爲光其德不爽

既見君子

彼蕭斯 零露蜜 處今

燕笑語今

是心

斯。

壽 龍

1 How long grows the southernwood,

With the dew lying on it so bright!

Now that I see my noble men,

My heart is entirely satisfied.

As we feast, we laugh and talk;–

It is right they should have fame and prosperity!

2 How long grows the southernwood,

With the dew lying on it so abundantly!
Now that I see my noble men,

I appreciate their favour and their brightness.
Their virtue is without taint of error;-

May they live long, and not be forgotten!

Ode 8. The last of the missing odes. Its subject was-How all things were produced and flourished as was natural and appropriate

to them.'

Ode 9. Allusive. A FESTAL ODE, ON OCCABION OF THE KING'S ENTERTAINING THE FEUDAL Both PRINCES WHO HAVE COME TO HIS COURT. schools of critics agree in taking this as an ode sung, when the king was entertaining the feudal princes; but with the followers of Maou the

subject of it is the praise of the king, the princes being the speakers, while with Choo the subject of it is the praise of the princes, the king being the speaker. The view of Choo seems to me much the more likely.

Ll. 1, 2, in all the stt. southernwood as growing

-as in I. vi. VIII. 2.

is the final particle.

is descriptive of the 'long and large.' 蕭 零露-as in I. vii. XX.湑‘the appearance of the dew on the plant' 瀼瀼~ 泥泥-‘the app. of the dew

in I. vii. xx.

moistening the plant.' 濃濃-‘the app. of

the dew lying thickly.' These lines seem to suggest the idea of the happy relations between the king and the princes.

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蓼合弟君露墓 彼德子泥彼 兄孔泥蕭

斯 宜燕旣斯。 弟豈見零

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沖見零

3 How high is the southernwood,

All wet with the fallen dew!

Now that I see my noble men,

Grandly we feast, delighted and complacent.

May their relations with their brothers be right!

May they be happy in their excellent virtue to old age!

4 How high is the southern wood,

With the dew lying on it so richly!

I have seen my noble men,

With the ends of their reins hanging down,

With the bells tinkling on their cross-boards and bits.
May all happiness gather upon them;

L1. 3–6, in st. 1. On Choo's view,君子

the meaning in the translation. is defined

must here be the feudal princes, the guests of by 樂,‘joyful, and 弟 by 易‘easy; un

the king.

is in the sense of 'to disburthen.' constrained.' L. 5 suggests a warning to the

Every thing antagonistic to the enjoyment of

the feast was cast out of the king's mind.

We may suppose a 且, 'and' between 燕

princes to avoid the jealousies which so readily

sprang up between them and their brothers.

Ll. 3-6, in st. 4. T'eaou is another name for

,

笑. The last line is perplexing. 是以轡 ‘reins,' indicating that they were made of

and.

gives it the appearance of narrative, which it leather. is explained as the ends of the

cannot be. I take those terms as – 宜, as in reins, beyond the place where they were held the translation, or making the whole line the in the hand of the driver; and

is des

were

expression of a wish.譽 and 處 are to be | criptive of these as ‘hanging down.’和 construed as nouns. Choo defines the former bells attached to the cross-bar () in the

by善聲 =‘fame; and the latter by 安樂, front of a carriage, and

'tranquillity and joy.' 'Prosperity' gives the idea of the permanence implied in better.

front of a carriage, and bells attached to the bits of the horses. Yung-yung,–as in I.iii. IX. 3. Choo says these were ornaments of the

L1. 3–6, in st. 2. Maou explaine 龍by寵 carriages of the princes; Maou, that they be

‘favour.' Froma passagein the Tso-chuen, under the 12th year of duke Ch'aou, where there is a reference to all the stanzas in this ode, we may

conclude that 寵 is the proper reading. 爽

longed to the royal carriages. Each writes according to his general interpretation of the ode.攸所,‘that which,'or‘the place

where.'

LL. 3-6, in st. 3. Maou makes, cat. 5, t. 2: in 2,

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The rhymes are in st. 1, 湑寫 語 -'to be in error.' L. 6,-as in I.xi.V. 2. 處,cat. 5, t. 2: in 2,瀼光爽忘, cat. 10: tcomposed, but in this ode that meaning is out in 3.泥弟弟豈,cnt 15, t. 2: in 4,濃 of place.豈弟 in later times 愷悌, has 悌,has 沖,雝同,cat. 9.

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豈其顯湛厭 湛厭 湛

弟桐允湛厭湛厭

君其君露夜露夜

椅。 折.飲斯飲

斯。

莫其莫在在在不匪

不實

合離

彼醉陽

豐無不

考R草歸。晞。

儀。離德。棘。考。草

1 Heavy lies the dew;

Nothing but the sun can dry it.

Happily and long into the night we drink;—

Till all are drunk, there is no retiring.

2 Heavy lies the dew,

On that luxuriant grass.

Happily and long into the night we drink;

In the honoured apartment we complete our carousal.

3 Heavy lies the dew,

On those willows and jujube trees.

Distinguished and true are my noble guests,—
Every one of excellent virtue.

4 From the t'ung and the e

Their fruit hangs down.

Happy and self-possessed are my noble guests,-
Every one of them of excellent deportment.

湛露

Ode 10. Allusive. A FESTAL ODE, PROPER in the 3d there is an intimation that, as the trees

TO THE CONVIVIAL ENTERTAINMENT OF THE

could sustain the dew without bending, so the

FEUDAL PRINCES AT THE ROYAL COURT. Both princes could drink to the full, without being schools agree in this view of the ode.

L1. 1, 2, in stt. 1–3.湛湛 is descriptive of the abundance of the dew. 陽一日,

晞一乾, dry: The abundant descent

of the dew suggests the idea of the royal favour, seen in feasting the princes. Ching, enlarging on this general idea, finds in the first two stt. a further intimation that the favour was so excessive, that the princes could hardly sustain it, but must become drunk and disordered; while

disordered. But the allusive portions of the

odes will not bear such minute handling.
L1. 3,4. 厭厭 conveys the ideas of the hap-

piness of the feast, its length, and its fulness

(安也,亦人也,足也).L.4 in st. 1 strongly expresses the wish of the king that the fullest justice should be done by the guests to his spirits. is here equivalent to ‘to re

tire.' From the E Le, VI.ii., it appears that at these convivial entertainments, it was a regular

ment.

formula for the ruler-the host-to say, 'Let | ordered neither in their minds nor their deportall get drunk,' to which the guests responded, 'Yes. We dare not but get drunk.'

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St. 4. 桐椅一

‚—see on I.iv. VI. The picture of the tung, in the Japanese plates to the She, is that of the bignonia. is descriptive of the fruit hanging down elegantly. There was no disorder in its appearance, nor was there any in the deportment of the guests. The rhymes are—in st. 1,,, cat. 15, t. ., ., cat. 3, t. 2: in 3,

1: in 2,

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Were received and deposited.

I have here an admirable guest,

彤理

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藏之 我

彤弓弨 受言

And with all my heart I bestow one on him.

The bells and drums have been arranged in order,

And all the morning will I feast him.

2 The red bows unbent

Were received and fitted on their frames.

I have here an admirable guest,

And with all my heart I rejoice in him.

The bells and drums have been arranged in order,

And all the morning will I honour him.

TITLE OF THE BOOK. 彤弓之什二| highest testimonial of merit, and gave to the

之三, ‘Decade of Tung-kung; Book III. of

Part II.'

Ode 1. Narrative. A FESTAL ODE, ON OCCASION OF A FEAST GIVEN BY THE KING TO SOME PRINCE FOR THE MERIT HE HAD ACHIEVED, AND THE CONFERRING ON HIM OF A RED BOW. In the Shoo, V. xxviii. 4, we have an instance of

the conferring by king Ping on a marquis of Tsin of a red bow, and other gifts, which generally accompanied such a token of merit and of the royal favour. Red was the colour of honour with the dynasty of Chow; a red bow was its

prince who received it great prerogatives within the sphere of his jurisdiction.

L1. 1, 2, in all the stt. 彤弓,-Ying-tah

says, 'The bows were lackered as a protection against frost and wet.' In 1. 2, we must construe as a mere particle. The explanation

of the term throughout the odes by 我 adopted by Maou and Ch'ing, is here palpably absurd. They refer 1.2 to the prince recipient of the bow, and make him say, 'I receive and deposit it, as a precious relic for my

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