樂胥 萬邦之 其領 君子 之子有 胥。 君子 之 子有 1 They flit about, the green-beaks, With their variegated wings. To be rejoiced in are these princes! May they receive the blessing of Heaven! 2 They flit about, the green-beaks, With their glancing necks. To be rejoiced in are these princes! They are screens to all the States. 桑扈之什二之七 TITLE OF THE BOOK.-桑之什二 to compliment the princes on the elegance of 之七 ·The Decade of Sang-hoo; Book VII. of Part II.' Ode 1. Allusive and narrative. THE KING, ENTERTAINING THE CHIEF AMONG THE FEUDAL PRINCES, EXPRESSES HIS ADMIRATION OF THEM, AND GOOD WISHES FOR THEM. As usual, king Yew is found here by the old interpreters, who think that the piece was designed to reprove somehow the want of propriety in the festal intercourse between him and the princes. Keang Pingchang adduces various passages from Tso-she, in which 11.3, 4 of stt. 3, 4 are quoted, in support of this view; but the lines might serve the purpose for which the speakers in Tso-she employ them, on the interpretation of the ode adopted by Choo, and which I am obliged to follow. their manners. L. 3. Choo takes 胥 as a final particle, like which we have often met with, and often 只, occurring after; and refers to the princes whom the king was feasting. Maou ·皆all, and 君子 as em as bracing both the king and his princes;-which St. 1.交交,--as in I.xi. VI. Suny-hoo,–asively, or, with Choo, as a prayer of the king for in v. II. 5. The bird is said to be called the mul- the princes. 祜=福,‘happiness,' blessing' berry hoo, because it appears when the mulberry tree is coming into leaf. is applied to the feathers of birds which are striped and varie gated,'一有文章 as Maou expresses it. LI. 1, 2, here and in the next stanza, are intended St. 2.領=頸 the neck. The last line leads us to think of the keun-tsze as the chief of the princes, rulers of the larger States, and having authority over the smaller ones, so that all the regions of the entire kingdom were shelter| ed behind them as so many'screens.’ 求。敖,柔。。那。難 3 These screens, these buttresses,一 All the chiefs will take them as a pattern. Are they not self-restrained? Are they not careful? Will they not receive much happiness? 4 How long is that cup of rhinoceros' horn! Good are the spirits in it and soft. While it passes round, they show no pride; All blessing must come to seek them. 1 The Yellow ducks fly about, And are taken with hand-nets and spread-nets. May our sovereign live for ten thousand years, Enjoying the happiness and wealth which are his due! St. 3. L.1. 之 = 是, this,these: 翰is 不歛乎豈不慎乎其受福 nsed in the sense of 幹, the frame-planks used in building, and here equivalent to ‘supports,’ ‘buttresses.’L. 2. 辟 = 君‘ruler,' ‘chief.' The hundred peih' are all the smaller princes, who looked up to the in the ode, and took them for a pattern (憲 法:為憲 -以之為法). L1.3.4 are taken by Choo interrogatively, according to a usage, which we shall find common in Parts III and IV. Maou also adopts substantially the same 豈不多平 St. 4. 兕角,一as in I.III.3. 其 有梂, in v.IX. 1. Yen Ts'an and others say that the rhinoceros' cup here was inflicted on guests guilty of any impropriety. It may have been employed, sonmetimes, for that purpose; but there is no reference to such a use of it here, nor in Li III. L. 2. The is taken here as a medial particle. So, Wang Yin-che contends, it should be taken in I. i. 1. 2, where, however, it may have its usual meaning. There are other instances of its occurring in the mid construction. 戢一斂 ‘to gather; here = dle of lines, as here. L.3. 彼交‘in their ‘self-collected.’難 慎‘to be careful.' intercourse,'or‘they in their conviviality. Wang Gan-shih brings out the meaning of the term thus,−難則不易易則傲慢,敖 =傲 (to be proud,''arrogant, On this and 1.4. Choo says, 無所傲慢則我 not have a sense of ease ; that sense would have 無事於求福而福反來求 been seen in arrogance’那一多,‘much,'我也. Wang Yin-che construes 1.3 different‘great' Choo's expansion of the lines is 豈 ly. He gives to 彼 the meaning of 匪, and 'Feeling the difficulty of their position, they did 祿子之 艾萬秣 萬左 鴦 之。年。之。歳。福。年。翼。梁 2 The Yellow ducks are on the dam, With their left wings gathered up. May our sovereign live for ten thousand years, Enjoying the lasting happiness which is his due! 3 The teams of steeds are in the stable, May our sovereign live for ten thousand years, tries to show that the two characters are some- RESPONSIVE TO THE LAST ODE; THE PRINCES EXPRESS THEIR PRAYERS AND WISHES FOR THE KING. The writer, it is supposed in the Preface, speaks here of the signated in the Pun-ts'aou, with reference to the prevailing colour of its plumage, though that is variegated, and the creature is, perhaps, the most beautiful of all the duck tribe. Another name for it is, which may be translated 'the Faithful bird,' as it is supposed to be a monogamist, and if either of a pair die, the other is said to pine away, and follow its mate to the grave from sorrow. The male and female do show an extraordinary attachment to each other, which is, with the Chinese, an emblem of conjugal fidelity. is the name for a handnet, with a long handle, with which creatures may be surprised and taken; in distinction from the other, is a spread-net, into which they go or fall themselves. 君子 is here天 ancient wise kings, who dealt with all creatures, the king.' Ż conveys the idea as they ought to do, and exacted moderate revenues for their own support. It would be amusing, but a waste of time, to exhibit how the allusive lines are tortured to harmonize with that all blessings are the king's 'due.' St. 2. L. 2 has wonderfully vexed the critics. The translation may be regarded as literal. this view. Even Keang Ping-chang rejects it; One of the commentators Chang (7) but he adopts a view from Ho Keae, which is about as absurd, contending that the parts of the ode suit admirably the history of king Yew, and of his relations to his wife and his concubine Paou Sze. Adopting, as I have done, the interpretation given by Choo, which suits admirably the last two lines of the stanzas, we can make nothing out of the first two which will indicate the nature of the allusive element in them, and can only say that the ode is a remarkable instance of the allusive element in which there is no admixture of the metaphorical. So Yen Ts'an cha racterizes it, (興之不兼比者); and yet he proceeds to serve up afresh the inanities of Maou. St. 1. The yuen is the male, and the yang the female of what is called the 'Mandarin duck,' -anas galericulata. I adopt for it the name of the Yellow duck(), by which it is de who preceded Choo, says, 'When birds sit or roost together, their heads are turned in opposite directions, bringing their left wings folded up, so as to lean on each other, while their right wings are left at liberty to guard against any danger that may approach.' This may be doubted as a general fact, but the writer of the ode had probably seen a pair of the Yellow ducks seated on a dam in the position which Chang describes. It would be an instance of their mutual attachment, which I believe to be a fact. L. 4. -or, 'long-continued.' Stt. 8,4.-'teams of horses.' These are supposed to be the teams of the royal carriages; but I do not see that this is necessary, any more than that we should find out some connection between the king and the ducks. L. 1. The dict. reads here as ts'o, and 綏福萬君 摧秣 在乘 章 之。祿年。子 之。之 廏。馬 4 The teams of steeds are in the stable, Fed with grain and forage. May our sovereign live for ten thousand years, In the comfort of his happiness and wealth! III. Kwei peen. 蔦弟異嘉爾酒伊弁有可 與匪人。豈殽旣何,實頍 女他兄伊旣爾維者 1 Those in the leather caps,一 Who are they? Since your spirits are [so] good, And your viands are [so] fine, How can they be strangers? They are your brethren, and no others. [They are like] the mistletoe and the dodder, makes it, 'to cut forage.' The meaning is correct, but the rhyme in st. 4 will not admit of the pronunciation ts'o. The meaning of the line appears in the translation, but we need not insist on what most of the critics enlarge on,that the horses were fed with forage when they were not employed, and with grain, when they were called forth to service. 艾=養‘to need not find in those lines any reference to special dangers which the writer had in mind, but only the general uncertainty of life, which made him think that the best plan was to enjoy the pleasures of the present time. With regard to the different elements in the composition of the stanzas, Foo Kwang says, 'L. 1 in itself only says that those present at the feast were in their leather caps, and is sim nourish.' One of the Soos takes it here in the ply narrative, but the second line is suddenly sense of 老, to become old,' which also gives a suitable sense (福祿終其身) 綏 一安, ‘to give rest,' or ‘solace. The rhymes are–in st. 1, 羅宜*, cat. 17: in 2, 翼 福 *, cat. 1, t. 3: in 3, 秫艾cat 15, t. 3: in 4,,, ib., t. 1. Ode 3. Narrative, with allusive and metaphorical portions, in all the stanzas. CELE BRATING THE KING FEASTING WITH HIS RELA TIVES BY CONSANGUINITY AND AFFINITY. The concluding five lines of st.3 give some countenance to the view of the ode insisted on by the interpreters of the old school,-that the piece was intended by way of warning. to admonish king Yew, who was abandoning himself to feasting and mirth when ruin was imminent. Still the spirit of the whole ode is so joyous, that we interjected, and serves to introduce 11. 4, 5 below, so that 11. 1, 2 become allusive. Then we have the metaphorical element in ll. 6, 7 St. 1. L. 1. Ying-tah observes that 弁 is the general name for a cap. There are many vari eties of it:−the爵弁 used by an officer at . sacrifices; the 韋 used in war; the 冠 弁, used in hunting. The 皮弁 was used both by high and low, and therefore we know it must be it which is intended here. Ts'aou was the or Suy-chung says that the 皮弁 dinary cap worn at court, and at entertainAs distinguished from the 韋, it was ments. 『子施弟旣期。有見君蘿 憂 于具 松 來 上蔦 頍君子。 豈 者 與異旨。實 憂 施于松柏 心奕奕 弁庶 奕 柏。 奕。 臧。旣! 女 人 爾維說 見君蘿兄殽何懌。既見 Growing over the pine and the cypress. While they do not see you, O king, Their sorrowful hearts are all-unsettled. When they do see you, They begin to be happy and glad. 2 Those in the leather caps,一 Who are they? Since your spirits are [so] good, And your viands are all of the season, How can they be strangers? They are your brethren, all assembled. [They are] like the mistletoe, and the dodder, Growing over the pine. While they do not see you, O king, Their hearts are full of sorrow. When they do see you, They begin to feel that things are right. the translation. It is better to take the line thus, than as if, with Yen Ts'an and Këang, it—' what been puzzled to know whether we should take these lines as in the 1st person, the writer expres for is this?’維 and 伊 have both to be dis- sing his own sentiments, and 君子 belonging regarded;-simply expletives. Ll. 3, 4 are addressed to the king as the entertainer or host L1. 5, 6. The 萹 is a parasitical plant, no doubt of the genus viscum. It may not be the to the guests; or as I have done in the translation. What mainly determined me was the 2, which would seem to put in the plural. mistletoe grown on the oak, but it is a plant of See the phrase in iii. V. 4, where it denotes in many trains.' Here it is applied to the thoughts the same kind. Acc. to Maou and Choo, the 女 of the princes, loose and unconnected,''unset蘿 is the same as the 繇, ‘rabbit-silk,’tled庶幾 ' to approximate to.’ which is another name for the 唐 or dodder, of I. iv. IV. 1. This identification has been im pugned, and the author of the Japanese plates says both the critics were in error. According to the picture given there, some kind of moss is intended. as in I.i.II. 1. Ll. 8—12. I have St. 2. L.2. 期 is a final particle, interroga After tive, interchangeable with the used in the |