音。秩厭載子。言閉二膺。虎 秩良興載念緄弓交帳 德人。厭寢君竹鋹鏤 With the tiger-skin bow-case, and the carved metal ornaments on its front. The two bows are placed in the case, Bound with string to their bamboo frames. I think of my husband, When I lie down and rise up. Tranquil and serene is the good man, With his virtuous fame spread far and near. IV. Këen këa. 遡一在伊所為白蒼 洄方水人。謂霜露 F.葭 1 The reeds and rushes are deeply green, And the white dew is tnrned into hoarfrost. The man of whom I think Is somewhere about the water. I go up the stream in quest of him, 室)鏤膺lit, engraven breasts' Maou | from near to far. This is what is meant by its and Choo take the phrase of the carved metal being an orderly fame.' ornaments on the horses' breast-bands; but I agree with Yen Ts'an that it is very unlikely the The rhymes are--in st.1,收軸, cat.3,t.1; speaker should start off from the bow-case to 驅續轂馵玉曲,访,t.3(驅 the breast-bands of the horses, and then in the next line return to the bow-case again. We must take the phrase as descriptive of the ornaments on the front of the case. L.5.交賬二月二弓於 美中‘there were placed together two bows in the case.' L.6. The 閉 (composed elsewhere of 韋 and 必) was an instrument of bamboo, strapped to the bow when unstrung, to keep it from warping. It appears here, as so strapped to it with string(), and placed along with it in the case. L1.6-7.-as in iii.XIV. 3. 厭厭 describes the tranquil serenity of the husband's virtue’秩秩='orderly. Choo Kung ts'ëen says, "The manifestation of his virtuous fame proceeded from the inside to the outside, prop. belongs to cat. 4): in 2,,, ib. t. 2; 中驂(this is very doubtful);合輛(prop. cat.15),邑,eat. 7, t.3: in 3,羣錞苑 Ode 4. Narrative. SoME ONE TELLS HOW HE SOUGHT ANOTHER WHOM IT SEEMED EASY TO FIND, AND YET COULD NOT FIND HIM. This piece reads very much like a riddle, and so it has proved to the critics. The Preface says it was directed against duke Seang, who went on his course to strengthen his State by warlike enterprises, without using the proprieties of Chow, and so would be unable to consolidate it. first two lines are allusive, Ch'ing K'ang-shing makes the man' in the 3d line to be a man or men versed in the proprieties; Gow-yang and 已蒹宛阻之 之晞蒹央游 從 從 之。 之 葭在且湄。 所 躋。 遡洄從之 所謂伊人在 遡游從之 已. 所謂伊人在水 水未 從人 妻。 宛 在露 之道水未 But the way is difficult and long. I go down the stream in quest of him, And lo! he is right in the midst of the water. 2 The reeds and rushes are luxuriant, And the white dew is not yet dry. I go down the stream in quest of him, 在 從之 道阻 且 水長。 中。遡 And lo! he is on the islet in the midst of the water. 3 The reeds and rushes are abundant, And the white dew has not yet ceased. The man of whom I think Is on the bank of the river. others think duke Seang himself is meant; and Lëu Tsoo-këen takes the man’as the proprieties of Chow.' All this is what Choo well calls 'chiselling,' and gives no solution of the riddle. He himself takes the whole as narrative, and does not attempt any solution;–nor do I venture to propose one. and the time of the day as in the morning, when the dew still lay in hoarfrost, or a semblance of it.乾, 'to be dry.' L1. 3. 伊人一人,“that man. Maou makes 伊一維, as in ii. XIII. 3, but the term L1. 1, 2, in all the stt. The keen is described has here a demonstrative force. Wang Yin-che as like the hwan (佳),which Medhurst calls tough sedge or rush, but smaller, though it rises to the height of several feet. For the kea, see on ii. XIV. 蒼蒼 describes their ap a explains it by 是一方,‘one quarter,' somewhere. is the margin, 'the place where the water and grass meet."涘-as in vi. VII. pearance of a deep green. Maou and Choo say 2. To go up against the stream is called 遡 (or with 水 at the side) 间; to go down that 淒淒 is synonymous with this;-comp. 萋萋 iniII. 1. 采采 must have a simi- | with the stream is called 遡游;'-so, the Urh-ya. 從之,-follow him,' i.e., go in quest lar meaning; Choo tries to keep to the meaning in it of 采, ‘to gather. The 2d line indi cates the time as towards the close of autumn, when frost was beginning to make itself felt; 沚水宛從遡且 從 洄 矣。 中在之。游右。阻 I go up the stream in quest of him, But the way is difficult and turns to the right. I go down the stream in quest of him, And lo! he is on the island in the midst of the water. V. Chung-nan. 有其顏錦君有終 南君如衣子條 有何也渥狐至有 堂。有哉。丹。 裘。正。 梅。 有。 1 What are there on Chung-nan? There are white firs and plum trees. Our prince has arrived at it, Wearing an embroidered robe over his fox-fur, And with his countenance rouged as with vermilion. May he prove a ruler indeed! 2 What are there on Chung-nan? There are nooks and open glades. 右‘to the right.' The meaning is, as Choo | 終南 pres. dep. of Se-gan, in Shen-se. It came to be says, that ‘he did not meet with the man, and long to Tsin, when king Ping had granted to turned away to the right of him. 坻 and 沚 both mean 'islet;' but is the smaller of the two. —as in x.II. The rhymes are–in st. 1,蒼霜方長, 央 cat. 10; it is not worth while to put down 11.5 and 7 as rhyming: in 2, 淒晞湄躋 duke Sëang the old possessions of Chow. The t'ëaou is another name for the mountain ts'ëw (山楸), 'a kind of fir,' distinguished by the whiteness of its bark, and leaves, and affording materials for making chariots, coffins, &c. 6ood Choo defines by山之廉角, cornere topen, level, place. It is hard to tell in what of a hill, and 堂by山之寬平處 城cat. 15,t.1: in 3,采,已涘右沚, the allusion in these two lines lies. cat. 1, t. 1. Ode 5. Allusive. CELEBRATING THE GROWING DIGNITY OF SOME RULER OF TS'IN, AND ADMONISHING, WHILE PRAISING, HIM. The piece is akin to the first and second. The Preface refers it to duke Seang, who was the first of the chiefs of Ts'in to be recognized as a prince of the kingdom, and we need not question the reference. Ll. 1, 2, in both stt. Chung-nan was the most famous mountain in the old demesne of Chow, lying south of the old capital of Haou,-in the | L1.3.5. I construe 止 as the particle, and suppose that the lines are descriptive of the prince of Ts'in's arrival in the neighbourhood of the mountain, from a visit to the court of Chow, or in some progress through his territories. On 1.4, st.1, Ying-tah says that the prince of a State wore a white fox-fur at the royal court, and on his return to his own dominions when he announced in his ancestral temple what gifts he had received from the son of Heaven; after which he no more wore it. The same would probably be true of the dress mentioned in the corresponding line of st.2. On the 不壽 將佩 佩繡黻至君 霧漿佩豬 羣 忘者將玉裳衣止子 者天 殲我 Our prince has arrived at it, With the symbol of distinction embroidered on his lower gar ment, And the gems at his girdle emitting their tinkling. May long life and an endless name be his? 其 VI. Hwang nëaou. 夫此車從止交 天。慄。 穴之奄奄穆于交 彼惴 特息息。公棘。 我蒼 惴臨百雜子誰鳥。 1 They flit about, the yellow birds, And rest upon the jujube trees. Who followed duke Muh [to the grave]? Tsze-keu Yen-seih. And this Yen-seih Was a man above a hundred. When he came to the grave, symbol of distinction, see the Shoo on II.iv. 4. line. The黻衣 and the 繡裳 are merely variations of expression for the same thing. We have indeed, two articles in st.1, and we know that the embroidered robe was worn over the fur.渥丹,一comp. on ii.XIII.3. 將 將 gives the sound of the gems. L.6. expresses a wish, in which a warning or admonition is also supposed to be conveyed. The其, as optative, may be pleaded in favour of the admonition in st.1, and Keang finds the same in 2, by taking不忘 自始至 終時以王命為念, from first to | 黃鳥 Ptt. II. and III, we find 壽考 combined, in the sense of 'to live long. cat. The rhymes are in st.1, 梅裘... 1.t.1: in 2,堂堂將忘cat.10: 有 I may also be taken as rhymes in both stt., cat. 1, t. 2. Ode 6. Allusive. LAMENT FOR THREE WORTHIES OF TS'IN WHO WERE BURIED IN THE SAME GRAVE WITH DUKE MUH. There is no difficulty of this piece; and it brings us down to the year or difference about the historical interpretation B.C. 620. Then died duke Muh, after playing an important part in the northwest of China for 39 years. The Tso-chuen, under the 6th year of duke Wan, makes mention of his requiring the three officers here celebrated to be buried with him, and the composition of the piece in conse last, ever mindful of the king's orders.' Ipre-quence. The Historical Records' say that the fer to take the passively. Elsewhere in barbarous practice began with duke Ching, 從 交贖者 鸭羮费 人殲 此從 仲穆 行。公。 鳥 我 百 鳥。 車 止其 良 鐡于身人慄 其良 身。人。 如可贖兮人百 父交黃鳥 止于 虎楚。 如彼防。行。桑。 維誰 可蒼臨維誰 Thou art destroying our good men. Could he have been redeemed, We should have given a hundred lives for him. 2 They flit about, the yellow birds, And rest upon the mulberry trees. Who followed duke Muh [to the grave]? Tsze-keu Chung-hang. And this Chung-hang Was a match for a hundred. When he came to the grave, He looked terrified and trembled, Thou azure Heaven there! Thou art destroying our good men. Could he have been redeemed, We should have given a hundred lives for him. 3 They flit about, the yellow birds, And rest upon the thorn trees. Muh's predecessor, with whom 66 persons were tribes among which it had so long dwelt.-Have we not in this practice a sufficient proof that the chiefs of Ts'in were themselves sprung from those tribes? In all the stt. L1. 1, 2. I take 交交 in the sense adopted by Choo, 'the app. of flying about, coming and going.' Maou makes it='smalllike.' The allusion is variously explained, some say there is in it the idea of the people's loving the three victims as they liked the birds; others, that the birds among the trees were in their proper place,-very different from the worthies in the grave of duke Muh. 從一從死,‘to follow in death.' is the more common term in this sense. L. 4. 子車 was the clan-name of the victims, brothers, whose names follow in |