14. Tsze-loo said, ' If a wan treat me well, I will also treat him well; and if a man do not treat me well, I will not treat him well.' Tsze-kung said, ‘If a man treat me well, I will also treat him well; and if a man do not treat me well, I will [try to] lead him [to do so], simply conducting him forward, or letting him fall back.’Yen Hwuy said,‘If a man treat me well, I will also treat him well, and if a man do not treat me well, I will still treat him well.' As each of the three had his own view on the subject, they asked the master about it, who said,‘Yew's words are those of a barbarian; Ts'ze's those of a friend; and Hwuy's those of a relative.' The ode (I. iv. V. 1.) says:

‘This man is all vicious,

And I regard him as my brother.'

15. Duke King of Ts'e went out to shoot birds with an arrow and string at the. lake of Ch'aou-hwa. Yen Táng-ts'eu had charge of the birds [which were caught], and let them all go, upon which the duke was angry, and wanted to put him to death Gan-tsze said, 'Tăng-ts'eu is guilty of four capital offences; let me enumerate them' and then execute him.' The duke assented, and Gan-tsze said, "Tăng-ts'eu had charge from you of the birds, and let them go :-this is his first offence. He is causing you for the sake of some birds to kill a man:- —this is his second offence. He will cause the princes throughout the kingdom, when they hear of it, to think of your lordship as regarding your birds as of more value than your officers:—this is his third offence. When the son of Heaven hears of it, he will certainly degrade and dismiss your lordship, putting our altars in peril, and extinguishing the sacrifices of your ancestral temple:-this is his fourth offence. With these four offences, he ought to be put to death without forgiveness; allow me to execute the sentence. The duke said, 'Stop. Here I also am in error. I wish you for me to make a respectful apology.' The ode (I. vii. VI. 2) says:

'It is he in the country who ever holds to the right.'

自知孔子聞之曰伯宗其無後讓人之善詩曰,天降 要亂,滅我立王又曰畏天之威于時保之–In the Tso Chuen.

on VIII. v. 4, we have a considerably different version of this story.

14. 子路日人善我我亦善之人不善我我不善之 子貢曰人善我我亦善之人不善我我則引之進退 而已耳顏回曰人善我我亦善之人不善我我亦善 三子所持各異問於夫子夫子曰由之所言蠻貊之 也賜之所言朋友之言也囘之所言親屬之言也 日人之無良我以為兄

15. 齊景公出弋昭華之池顔鄧聚主鳥而亡之景公怒 而欲殺之晏子曰夫鄧聚有死罪四請數而誅之景公 日諾晏子日鄧聚為吾君主鳥而亡之是罪一也,使吾 君以鳥之故而殺人是罪二也使四國諸侯聞之以吾 君重鳥而輕 是罪三也,天子聞之必將貶黜吾君危 廟是罪四也此四罪者,故當殺無赦 請加誅焉景公日止此亦吾過矣夫子為寡人敬 謝為詩曰之司直

16. King Chwang of Ts'oo sent a messenger, with a hundred catties of gold, to invite Pih-kwoh to his court. Pih-kwoh said, 'I have one who attends to the basket and broom for me; let me go in and consult her.' He then [entered her apartment], and said to his wife, Ts'oo is wishing me to become its chief minister; if to-day I accept the office, I shall at once have my carriage and four with ranks of attendants, and my food will be spread before me over a space of ten cubits square ;what do you say to it?' His wife replied, 'You have hitherto made your living by weaving sandals. You live on congee and wear straw shoes, with none to make you afraid or anxious;-simply because you undertake no responsibilities of manageIf now you had your carriage and four, with ranks of attendants, you could rest only in a space sufficient for your two knees; and if you had your food spread before you over ten cubits square, you could enjoy only one piece of meat. Will it be wise for that space for your knees, and the taste of that piece of flesh, to plunge yourself into all the anxieties of the kingdom of Ts'oo?' Upon this he declined the invitation, and along with his wife left Ts'oo The ode (I. xii. IV. 3) says:一

ment.

'That admirable, virtuous lady

Can respond to you in conversation.'

The above sixteen paragraphs, taken very much at random, are sufficient to give the reader an idea of Han Ying's method in his‘Illustrations of the She.' Whatever we may have lost through the perishing of his other works, we have not gained anything by the preservation of this, towards the understanding of the odes. The editors of the catalogue of the imperial library under the present dynasty, in the conclusion of their notice of it, quote with approval the judgment of Wang Sheching of the Ming dynasty, that 'Han quotes the odes to illustrate his narratives, and does not give his narratives to illustrate the meaning of the odes.'

16. 楚莊王使使金百斤聘北郭先生先生日臣有箕 帚之使願入計之郎謂婦人日禁欲以我為相今日P 結駟列騎食方丈於前如何婦人曰夫子以纖屦爲 食食粥嚵履無怵惕與憂者何哉與物治也今如結 駒列騎所安不過容膝食方丈於前所甘不過一肉以 之安一肉之味而殉楚國之憂其可乎於是遂不 應聘與婦去之詩曰彼美淑姬可與晤言

CHAPTER III.

THE PROSODY OF THE SHE; THE ANCIENT PRONUNCIATION

OF THE CHARACTERS; AND THE POETICAL

VALUE OF THE ODES.

APPENDIX: ON THE VARIOUS MEASURES IN WHICH THE

CHINESE HAVE ATTEMPTED POETRY.

SECTION I.

Metre and rhyme

THE PROSODY OF THE SHE.

1. The reader of the Book of Poetry is at once struck by the brevity of the lines, and by the fact that nearly all the pieces in the collection are composed in rhyme. Under these two heads of the metre and the rhyme may be comprehended nearly all that is necessary to be said on the prosody of the She.

The metre

2. All the earliest attempts of the Chinese at poetical composition appear to have been of the same form,-in lines consisting of four words, forming, from the nature of the language, four syllables. In the Book of History, II. iv. 11, we have three brief snatches of song by Shun and his minister Kaou-yaou, which may afford an illustration of this measure; and some of the paragraphs in 'The Songs of the five Sons,' III. iii., are constructed after the same model.2 The pieces of ancient songs and odes, appended to Chapter I. of these prolegomena, may also be referred to. Wherever there is any marked deviation in them from this type, the genuineness of the composition, as a relic of antiquity, becomes liable to suspicion.

股肱喜哉元首起哉百工熙; with the two rejoinders of Kaou

yaou. The marquis D' Hervey-Saint-Denys, in his 'Poesies de l' Epoque des Thang,' Introduction, pp. 59, 60, falls into error in saying that it is the particle tsae () which forms the rhyme in these triplets. The rhyme is on the penultimate characters., in the first line of the second triplet, was anciently pronounced mang. So we find it throughout the She, with one exception where it is made to rhyme with. It is to be observed also that the first line of the third triplet consists of 5 characters. 2 See particularly parr. 6,7, and 9.

Irregularities of the metre.

3. But though the line of four words is the normal measure of the She, it is by no means invariably adhered to. We have in one ode, according to the judgment of several scholars, a line of only one word in each of its stanzas.3 Lines of two, of three, of five, of six, of seven, and even of eight words, occasionally occur. When the poet once violates the usual law of the metre, he often continues his innovation for two or three lines, and then relapses into the ordinary form. He is evidently aware of his deviations from that, and the stanzas where they occur will be found in general to be symmetrically constructed and balanced. So far as my own perception of melody in numbers is concerned, I could wish that the line of four characters were more frequently departed from.5

4. The pieces, as printed, appear divided into stanzas;-and The division of the odes into properly so, though the Han scholars say stanzas; and its irregularities. that such division was first made by Maou Chang. He did his work well, guided mainly by the rhyme, and by the character of the piece as narrative, allusive, or metaphorical. The very few cases in which a different division from his is now followed have been pointed out in the body of the volume.

In most pieces the stanzas are of uniform length, and are very frequently quatrains; but the writers allowed themselves quite as much liberty in the length of the stanza as in that of the line. Stanzas of two lines are very rare, but I. viii. VIII. is an example of 3 I. vii. I. The second line in each stanza, as printed in the body of this volume, consists of six characters, &c.). Many scholars make the first word in each of the three lines, to stand as a line by itself, but it seems to me that one character can hardly sustain the place of a whole line. The ode in question, it may be observed, is generally irregular in its construction. The 1st and 3d lines in each quatrain consist of 5 characters; the second, as I have printed it. contains 6, and the 4th, 7. 4 Lines of two characters occur in the first three stanzas of II. ii. III., and iv. I.; and in IV. i. [i.] III. Lines of three characters occur in I. i. V., consisting of three quatrains, where all the lines are thus formed, but the third; in I. iii. XIII., and in IV. ii. II. Five characters occur in the 2d and 3d stanzas of I. ii. VI., and in both stanzas of I. iii. XI. Six characters occur in I. i. III., stt. 2, 3, 1. 3, and in the last lines of all the stanzas of II. ii. V.; seven in I. ix. IV., stt. 1, 2, 3, 1. 3; and eight in II. iv. IX. 8, 1. 8. 5 Take for instance stanzas 1-3 of II. ii. III.:

有驅

駐彼乘黃, 夙夜在公

振振器 鷺于下, 鼓咽咽醉言舞 于 音樂兮.

振振鷺鷺于飛 鼓咽咽醉言歸

胥樂兮

黝彼乘牡 夙夜在公

在于在于

在公明明

an ode made up of them; and in II. ii. III. there are three such stanzas following three quatrains. Triplets are also rare; but we have odes made up of them, as I. i. XI.; ii. V. and XIV.; vi. VIII.; and others where triplets are intermixed with stanzas of other lengths, as I. ii. VI. and XII.; vii. XIV.; xv. VI. Stanzas of five lines are rare, but they do occur, forming the structure of whole odes, as I. ii. X. and XI.; vii. III., and III. i. X.; and intermixed with others, as in II. iv. V. Stanzas of six lines, of eight, of ten, and of twelve are frequently met with. I vii. VI. is made up of stanzas of fourteen lines each, and in IV. ii. IV. we find stanzas of as many as sixteen and seventeen. Stanzas of seven lines, as in I. ii. III.; iv. I., IV. and VI.; of nine lines, as in I. ix. VI., and x. VI.; and of eleven lines as I. xv. I., in all the stanzas but one, are all unusual. Generally speaking, stanzas with an even number of lines greatly outnumber those with an odd.

As instances of odes where stanzas of different lengths are mixed together, I may refer to II. iv. V., where we have one of 7 lines, four of 5, then one of 7, one of 5, and two of 7; to the 7th ode of the same Book, consisting of four stanzas of 8 lines and four of 4; and to II. v. VI., where there are three stanzas of 4 lines, then one of 5, one of 8, and one of 6. In III. i. II. stanzas of 6 and 8 lines alternate, and in III. ii. VIII. we have first six stanzas of 5 lines, and then four of 6. Other arrangements the reader can notice for himself. No laws can be laid down upon the subject.—I have drawn no illustrations in this paragraph from the sacrificial odes, which are distinguished by various peculiarities of structure, both in regard to rhyme and stanzaic arrangement.

5. The manner in which the rhymes are disposed has received much attention from the Chinese themselves. Postponing to the The rhymes; and the) next section any discussion as to the number and arrangement of them. S exactness of the rhymes, I will here content myself with a description of the principal rules observed in their arrangement, drawing my materials mainly from Keang Yung's 'Adjustment of ancient Rhymes. '6

[i] The first case is that where lines rhyme in succession. We have an instance of two lines so rhyming in I. i. I. 1, ll. 1, 2; of three lines, in I. i. II. 3, 11. 2-4; of four lines, in I. i. II. 2, 11. 1-4;

6. 婺源江永古韻標準. Kéang Yung, styled Keang Shin s驼w (慎修). died,

at the age of 82, in A.D. 1762. He was a native of Woo-yuen dis., dept. Hwuy-chow, Gan-hwuy.

7 Called 連句韻