IX. Choo-lin. 朝乘說駕從匪林胡可 食我于我 夏適從為 于乘株乘 南。株复乎 林 林。南。株 株 ̧駒野。馬。 1 What does he in Choo-lin ? He is not going to Choo-lin; 2‘Yoke for me my team of horses; I will rest in the country about Choo. I will drive my team of colts, And breakfast at Choo.’ X. Tsih p'o. 泗無何。傷美與。 滂為寤如一荷。有 沱涕寐之人。有蒲 1 By the shores of that marsh, There are rushes and lotus plants. There is the beautiful lady; I am tortured for her, but what avails it? Waking or sleeping, I do nothing; From my eyes and nose the water streams. 彼澤之 澤陂 vating the acquaintance of Hea Nan, the writer not daring to say openly, that the object of attraction was Nan's mother. The son's name Ode 9. Narrative. THE INTRIGUE OF DUKE the duke meant by being constantly at ChooLING WITH THE LADY OF CHOO-LIN. Choo ob-lin, and the answer is given that he was cultiserves that this is the only one of the odes of Ch'in, of which the historical interpretation is certain. The intrigue of duke Ling (B.C. 612 –598) with the lady Hëa makes the filthiest narrative, perhaps, of all detailed in the Tsochuen. She was one of the vilest of women; and the duke was killed by her son Hea Nan, who was himself put to a horrible and undeserved death, the year after, by one of the viscounts of Ts'oo, St. 1. We have here the people of Ch'in in was Ching-shoo (徵舒), and his designation, Tsze-nan. St.2. I think we should take these lines as spoken by the duke. The critics all refer them to the people, and interpret them as narrative; but the becomes in that case very awk timating,with bated breath, the intrigue carried | ward. 說=舍, to rest' here meaning to on by their ruler. Choo-lin was the city of the Hëa family,−in the pres.dis. of Se-hwa(西 華), dep. Chin-chow. 平 may be taken as– 於‘in,’‘at' The question is put as to what | pass the night, in opp. to 朝食, in 1.4. Maou interprets, of the 'horses of a great officer,' probably finding in 1.3 a reference to two officers of Ch'in, each of whom had an intrigue On my side, on my back, with my face on the pillow, I lie. at the same time with the lady; but it is simpler to suppose that the character is synonymous with. The stanza indicates the frequency with which the duke sought the company of his mistress. | beautiful lady, but I cannot see her, so that, though I am wounded in consequence with grief, it is of no avail.' L.4 in stt. 2, 3 describes the The rhymes are–in st. 1, 林南 * 林南 a cat. 7, t. 1: in 2, 馬 * 野 * cat.5,t.2; 駒 * 株 cat. 4, t. 1. Ode 10. Allusive. AGENTLEMAN'S ADMIRA TION OF AND LONGING FOR A CERTAIN LADY. person of the lady.卷一好貌 ‘beautiful like.' Choo explains it of the fine appearance of the hair; and the critics refer us to 驩 in viii. VIII, but that term is there used of a zentleman. 寤寐,-a as in i. I. 2; so also 輾轉 涕 is used of tears; 泗 of water from the Choo observes that the piece is of the same 滂沱 indicates the abundance of the nature and to the same effect as the 9th. It is of no use seeking for a historical interpretation of it, as the Preface does, in the lewd ways of duke Ling and his ministers. Ll. 1, 2, in all the stt.陂 is here explained by障, ‘adyke,' 'an embankment;" but it is better to take it as the natural shores, 蒲 not as in vi. IV. 3. but='rushes.' Mats were made of them. is the nelumbium or lotus plant. Its flower, unopened, is callen as in the 3d st., –as in vii. XXI. From the pool and its beautiful flowers, the writer is led to think of the object of his affection. Ll. 3–6. Choo expands 11. 3, 4 of st 1 thus: 有美一人而不可見則雖 憂傷而如之何哉‘there is that nose. te‘the app. of tears. 憎恨,like 悒悒 grief or disquiet.'-I lie prostrate on the pillow.’ The rhymes are–in st. 1, 陂荷何為... 沱,cat.17: in2,蕑,卷帽, cat. 14: in S, 8:陂 in stt. 2, 3, is sup 萏儼枕cat. posed to rhyme with the same charaeter in st. 1. CONCLUDING NOTE ON THE Book. The odes of Ch'in are of the same character as those of Wei and Ching, and the manners of the State must have been frivolous and lewd. Only in the 3d, 4th, and 6th pieces have we an approach to correct sentiment and feeling. The 9th is the a of all the odes in the Classic, as if the sage test plus ultra of degeneracy and infamy. had intended to represent duke Ling as the se * your fox's fur you hold your court. How should I not think anxiously about you? My toiled heart is full of grief. 2 In your lamb's fur you wander aimlessly about; TITLE OF THE BOOK.-檜一之十三 'The odes of Kwei; Book XIII. of Part I.' Kwei was originally a small State, in the pres. Ch'ing same Chow (鄭州), dep. K'ae-fung, Ho-nan, or a minister of the ancient emperor Chuen-hëuh. 羔裘 檜一之十三 Ode 1. Narrative. SomE OFFICER OF KWEI LAMENTS OVER THE FRIVOLOUS CHARACTER OF HIS RULER, FOND OF DISPLAYING HIS ROBES, INSTEAD OF ATTENDING TO THE DUTIES OF GOVERNMENT. The Preface says further that the officer, rightly offended by the ruler's ways, left his service; but this does not appear in the piece. Ll. 1, 2, in all the stt. A jacket of lamb's fur was proper to the prince of a State in giving andience to his ministers; but should have been changed when that ceremony was over. One of fox's fur was proper to him, when he appeared at the court of the king; but it was irregular one, probably, who is known as duke Woo (武 for him to wear it in his own court. 逍遥 公;B.C. 770-743), and had become a portion of that State. Some of the critics contend that the odes of Kwei are really odes of Ch'ing, just as those of P'ei and Yung belonged to Wei. It may have been so; but their place, away from Bk. VII., instead of immediately preceeding it as Bkk. III. and IV. do Bk. V., may be accepted as an argument to the contrary. —as in vii. V. 2.,—as in viii. X. 3, et al. is here the hall or State-chamber, to which the ruler retired, after giving andience to his officers, and where he transacted business with them. 有曜=有光, ‘to have effulgence,’ i. e., ‘to glisten.’ 是 中爾豈有日如 悼。 心思,不曜。出膏。表 3 Your lamb's fur, as if covered with ointment, Glistens when the sun comes forth. How should I not think anxiously about you? To the core of my heart I am grieved. II. Soo kwan. 子悲 悲兮。愽 欒兮 兮。庶 同 歸聊 我見 素 今與傷衣 1 If I could but see the white cap, 棘 素冠 庶見素冠 人: And the earnest mourner worn to leanness! My toiled heart is worn with grief! 2 If I could but see the white [lower] dress!—— My heart is wounded with sadness! I should be inclined to go and live with the wearer! L1.3,4. 恩 has here the meaning, as fre- | called 縞冠 Maou supposes it was anquently, of 'to think of with interest and long-other, called which was assumed in ing:’忉忉- —as in xii. VII. 1. i, 'to be the 13th month;—but this is not so likely. 棘 pained in mind,' ' afflicted.' -3; 'earnest,' 'forward.' ▲ is a The rhymes are in st. 1,,,, cat. 2: in 2, 翔堂傷, cat. 10: in 3, 膏曜,悼 cat. 2. St. 1. 庶 -as in viii.I. 3. It is here de man earnest to observe all the prescribed forms of mourning. 欒欒=瘠貌 ‘thin and worn-like,' i.e, by grief and abstinence. 轉轉 -憂勞之貌 the app. of sorrow and toil.’ St. 2. 素衣 of the was the proper accompaniment The skirt or lower robe was then also of plain white silk. Ying-tah observes that, as the general name for any article of dress, is here used for, for the sake of the —as in ii. III. 3. rhyme. 傷悲 -as in iii. XIV. 1, et al. must here be translated in the 3d person, meaning 'such a mourner.' The fined from the Urh-ya by fortunately,' ‘luckily; but it has also an optative or conditional force. By the 'white cap' we are to understand the cap worn by mourners for their parents at the end of two years from the death expresses the speaker's love and ad(大祥之後), and which was properly | miration of him. 子聊 兮。如與 3 If I could but see the white knee-covers! Sorrow is knotted in my heart! 兮。素 我 韡 I should almost feel as of one soul with the wearer! 長楚猗 隰有萇楚 有萇 子之無家 天之沃汀 樂子之無室 其實 天之沃沃 沃R儺 1 猗 沃R儺 天猗 沃儺 In the low wet grounds is the carambola tree; Soft and pliant are its branches, With the glossiness of tender beauty. I should rejoice to be like you, [O tree], without consciousness. 2 In the low, damp grounds is the carambola tree; Soft and delicate are its flowers, With the glossiness of its tender beauty. I should rejoice to be like you, [O tree], without a family. 3 In the low, damp grounds is the carambola tree; Soft and delicate is its fruit, With the glossiness of its tender beauty. I should rejoice to be like you, [O tree], without a household. St. 3. The ‘white 韡,’ was a sort of leather apron covering the knee,-also the accompani ment of the white cap and skirt. Ode 3. Narrative. SOME ONE, GROANING UN- Preface says the piece was composed to indicate must be referred to the ruler, and the piece becomes allusive. In carrying out this inter pretation, however, Maou and his followers are put to such straits, that the Kang-he editora content themselves with giving Choo's view, and do not refer to the older one at all. 28 |