XII. Yay yew sze keun. 龙感舒有死林吉包野 也我而 女鹿有士 之。有 樸 有野 吠。帨 死 兮。脫 嫰。之 野有死 白茅純 無 純野 束有 1 In the wild there is a dead antelope, 春。茅 And it is wrapped up with the white grass. 麝 There is a young lady with thoughts natural to the spring, And a fine gentleman would lead her astray. 2 In the forest there are the scrubby oaks; And it is bound round with the white grass. 3 [She says], Slowly; gently, gently; Ode. 12. A VIRTUOUS YOUNG LADY RESISTS THE ATTEMPTS OF A SEDUCER. The little Preface says that the piece teaches disgust at the want of proper ceremonies, and belongs to the close of Chow's reign, when the influence of king Wan was gradually prevailing to over come the lust and license, through which the Shang dynasty was extinguished. A lady is sought to be won by insufficient ceremonies, yet they were better than none, and showed that the times were mending; and she is willing. He must be clear-sighted who can see traces of all this in the ode. The view which I take of it is substantially the same as Choo's, who inclines to look on it as an allusive piece, but at the same time allows it may be taken as narrative. It is not worth while to enter on this question. Ting's plates, has short horns. It has yet to be a rush; here apparently, designating the former. St. 1. Ll. 1,2. denotes the open country, given to it in the translation. Maou's explana- St. 2. Ll. 1,3. All that we learn from Maou and Choo about the p'uh-suh is that it is 'a small tree.' The figure of it in the Japanese plates to the She leaves no doubt that it is a kind of oak. An able botanist in Yokohama to whom it was submitted, pronounced it the quercus serrata. I have ventured, therefore, to transis the XIII. Ho pe mung. 齊平華何王曷唐何 侯王如彼姫不棣彼 之之桃穠之肅之穠 子孫李車雝華矣 1 How great is that luxuriance, Those flowers of the sparrow-plum! Are they not expressive of reverence and harmony, The carriages of the king's daughter? 2 How great is that luxuriance, The flowers like those of the peach-tree or the plum! general name for the deer tribe; specially, it is figured as the spotted axis. 纯 ('un) 束 to tie up in a bundle,'=the 包之 of last stanza. L. 4. Choo says that 如玉 intimates the girl's beauty. I think, with Maou, that the poet would represent by it her virtue rather. St.3. We must take these lines as the lan guage of the young lady, warning her admirer away. Her meaning gleams out indeed but feebly from them, but I have met with no other exposition of the stanza, which is not attended 何彼穠矣 Ode 13. Allusive. THE MARRIAGE OF ONE OF THE ROYAL PRINCESSES TO THE SON OF ONE OF THE FEUDAL NOBLES. The critics, of course, all see a great deal more in the piece than this, and think that it celebrates the wifely dignity and submissiveness of the lady. Whether anything can be determined as to who she was will be considered on the 2d stanza. Stt.1,2. LL.1,2.穠(or in Maou, with 衣 at the side) denotes 'the appearance of abundance.' There are great differences of opinion about the tree called t'ang-te.Maou, after the Urh-ya,calls it thee(杨), and is followed by Choo, who adds that with greater difficulties. The而in舒而 itis like the white willow(白楊). Descriptions 一如, so that the phrase'slow-like,' slowly; much the same is the meaning of (chwae). 感‘to move,' ‘to touch;' as if the character were掘 are given of the constant motion and quivering of its leaves, which would make us identify it Howers of the tree are what the writer has in with the aspen, a species of the poplar. But the view, and this forbids our taking it for a willow or a poplar. Wang Taou argues moreover that The napkin or handkerchief (the in the Urh Ya and Maou is a mistake 拭物之巾) was worn at the girdle. for 棣. Evidently, from the 2d line of st.2, This 2nd line,' says Hoo Yih-kwei, ‘warns the man away from her person, as the next warns him from her house.' The Shwoh-wăn defines 訄 as ‘a dog with much hair,'a tyke; but we may take it with Choo as simply a the tree in the ode is akin to the peach and the plum. And so say many commentators. Luh Ke (陸璦 ; during the time of the Three Kingdoms') makes it out to be the same as the synonym of 犬. The student will do well to mhli (薁李), called also the ‘sparrow's plum,, refer to the application which is made of this line in the 1st narrative subjoined by Tso-she to par. 3 of XI. i., in the Ch'un Tsëw. The rhymes are–in st. 1, 春 eat. 13; ” and other names. The flowers of this are both white and red, and the fruit is distinguished in the same way. I suspect the tree here is the white cherry. L1.2.4. 肅 is explained by 敬, to be re 包誘 eat. 3, t. 2: in 2, 楸鹿束玉verent' and 雝 by 和, to be harmonious.' ib., t. 3: in 3., cat. 15, t. 3. 脫, 帨吠 And say the critics, reverence and harmony 平之 伊維 維 孫王 子侯緡絲何。 3 What are used in angling? Silk threads formed into lines. The son of the reverent marquis, And the grand-daughter of the tranquillizing king! 1 Strong and abundant grow the rushes; He discharges [but] one arrow at five wild boars. Ah! he is the Tsow-yu! 2 Strong and abundant grows the artemisia; He discharges [but] one arrow at five wild boars. Ah! he is the Tsow-yu! are the chief constituents of wifely virtue.' |緡一編‘a cord' 'a string.' The allusion in What there was about the carriages to indicate these virtues in the bride, we are not told. She is called a royal Ke, being the surname of the House of Chow. Evidently she was a king's daughter. Most naturally we should translate the 2d and 3d line of st.2, The grand-daughter of king Pring. but, so taken, the piece must be dated about as two the維Yin-che says it is synonymous with 維, but the examples he adduces have the sense of (but,' 'only' The case in the text is sufficient to show that the two particles are synonymous only when they have that sense. the silk twisted into fishing lines would seem to be simply to the marriage-the union-of the princess and the young noble. I cannot follow Maou and his school, when they make it out to be to the lady's holding fast of wifely ways to complete the virtues of reverence and harmony.' cat. 9 ; The rhymes are–in st. 1,穠,雝 華 * 車 * cat.5, t. 1; in 2, 矣 李子 Cat.1, t.2: in 3, 緡 孫cat.13. * We must suppose that the prince, who is the subject of the ode, is hunting in spring, by some lake or stream where such rushes were common. Maou and Choo say nothing more about than that it is the name of a grass. According to the Shwoh-wăn, it should be a kind of artemi sia. One account of it says that its flowers grow like the catkins of the willow, and fly about in the wind, like hair. Ll. 2. Maou gives as 'the female of the swine;' and in the connection we must under stand the wild animal. Choo makes it just the opposite, the male, Maou took his account from the Urh-ya; but in both cases I imagine there is an error of the text,- for. To shoot female animals would be inconsistent with the benevolence which the piece is understood to celebrate. The Kwang-ya, without reference to the sex, says, the pa is a pig two years old,' and all authorities agree in taking ts'ung, as one, 'one year old.' But we cannot suppose that the poet laid any stress on these special distinctions of the terms. He varied them to suit his rhymes merely. 一發 by one discharge,' ie, of his arrows, acc. to Choo. The prickers, it shoot only one (; is over The rhymes are-in st. 1,.., and of st. 2, cat. 5, t. 1: in 2, CONCLUDING NOTE. cat. 9. E, Confucius once (Ana. XVII. x.) told his son to study the Chow-nan and Shaou-nan, adding that the man who has not done so is like one who stands with his face right against a wall.' Like many more of the sayings of the sage, it seems to tell us a great deal, while yet we can lay hold of nothing positive in it. Choo He says, "The first four odes in this 2d Book speak of the wives of princes and great officers, and show how at that time princes and great officers had come under the transforming influence of king Wăn, so that they cultivated their persons and regulated rightly their families. The other pieces show how the chief prince among the States spread abroad the influence of king Wan, and how other princes cultivated it in their families and through their States. Though nothing is said in them about king Wan, yet the wide effects of his brilliant virtue and renovation of the people appear in them. They were so wrought upon, they knew not how. There is only the 13th piece which we are unable to understand, and with the perplexities of which we need not trouble ourselves.' One of the Ch'ings says, "The right regulation of the family is the first step towards the good govt. of all the empire. The two Nan contain the principles of that regulation, setting forth the virtues of the queen, of princesses, and the wives of great officers, substantially the same when they are extended to the families of inferior officers and of the common people. Hence these odes were used at courts and village gatherings. They sang them in the courts and in the lanes, thus giving their tone to the manners of all under heaven.' These glowing pictures do not approve themselves so much to a western reader. He cannot · Ll. 3. The great battle of the ode, however, Maou and Choo, after him, take these terms as the name of a wild beast, 'a righteous beast; a white tiger, with black spots, which does not tread on live grass, and does not eat any living thing, making its ap-appreciate the institution of the harem. Westpearance when a State is ruled by a prince of perfect benevolence and sincerity. Being a tiger, it might be expected to kill animals, like other tigers, but it only eats the flesh of such as have died a natural death.' This view of the terms was not challenged till Gow-yang Sew of the Sung dyn., who contended that we are to understand by them the huntsmen of the prince's park. Since his time this interpretation has been variously enlarged and insisted on. One of the ablest assertors of it is Yen Ts'an, who appeals to the fact that the Urh-ya says nothing of the fabulous animal, as a proof that it was not heard of before Maou. The imperial editors, however, refute this statement, and I agree with ern wives cannot submit to the position of T'aesze herself. Western young ladies like to be married decently and in order,' according to rule, with all the ceremonies; but they want other qualities in their suitors more important than an observance of formalities. Where purity and frugality in young lady and wife are celebrated in these pieces, we can appreciate them. The readiness on the part of the wife to submit to separation from her husband, when public duty calls him away from her, is also very admirable. But upon the whole the family-regulation which appears here is not of a high order, and the place assigned to the wife is one of degradation. BOOK III. THE ODES OF PEI. I. Pih chau. 往不 以我無如 愬。可 心 酒釀 牌 敖 隱憂 耿耿 之薄 兄 不以微 微不亦 怒。言弟,可遊,我寐。汎 1 It floats about, that boat of cypress wood; Yea, it floats about on the current. Disturbed am I, and sleepless, As if suffering from a painful wound. It is not because I have no wine, And that I might not wander and saunter about. 2 My mind is not a mirror; It cannot [equally] receive [all impressions]. TITLE OF THE BOOK.邶一之三 Pei, Beck III. of Part I.' Of P'ei which gives its name to this Book, and of Yung which gives its name to the next, we scarcely know anything. Long before the time of Confucius, perhaps be-| fore the date of any of the pieces in them, they had become incorporated with the State of Wei, and it is universally acknowledged that the odes of Books III., IV., and V. are odes of Wei. Why they should be divided into three portions, and two of them assigned to P'ei and Yung is a mystery, which Choo declares it is impossible to understand. It would be a waste of time to enter on a consideration of the various attempts which have been made to elucidate it. In the long narrative which is given by Tso-she under p.8 of the 29th year of duke Seang, they sing to Ke-chah, their visitor from Woo at the court of Loo, the odes of Prei, Yung, and Wei, and that nobleman exclaims, I hear and I know:一 it was the virtue of Kang-shuh and of duke Woo, which made these odes what they are,the odes of Wei,' This was in B. C. 543, when Confucius was 8 years old. Then there existed the division of these odes into 3 Books with the names of different States, all, however, acknowledged to be odes of Wei. When king Woo overthrew the dynasty of Shang, the domain of its kings was divided by |