XVI. Pin fung. 莫娸攜其 狐 邪。 其霏 惠而好 手同歸 章 套.風邪 雱。風 北 風 蔽 涼。 只 其好雨 莫只其 且虚我雪 1 Cold blows the north wind; Thick falls the snow. Ye who love and regard me, Let us join hands and go together. Is it a time for delay? The urgency is extreme! 2 The north wind whistles; The snow falls and drifts about. Ye who love and regard me, Let us join hands, and go away for ever. The urgency is extreme! ONE WEI Ode. 16. Metaphorical. Some one or Wer|其虛其徐, and so is here read. How 邪 PRESSES HIS FRIENDS TO LEAVE THE COUNTRY it comes to have that pronunciation and mean- St. 1. 雱 is the ‘app. of much snow' The first two lines in all the stanzas are a metaphorical description of the miserable condition of the State. Choo ing 'slow,' 'leisurely'--is a point on which pages are written. But 邪 being taken in this sense, Choo, after one of the Ch'ings, explains it by we are led to give a cognate one to, and explains 惠by 愛, to love: Kang-shing 寛貌 forbearing-like, I have no doubt the makes it 'ye who are of a loving nature.' Yen Ts'an well explains the line by 以恩惠相 與者, ‘ye who have kindly intercourse with me. We might translate the whole by O friends' 攜 is ‘to lead by the hand'; 攜手 here, to take one another by the hand." The 5th line is the difficulty of the ode. The is both graphic and interrogative, which decides against the explanation of K'ang-shing: The forbear ing and good all think things have come to a climax, and that they should leave. We also ought to go.' The Urh-ya quotes the line as translation gives the idea of the line correctly. Lacharme has ‘nullus more datur locus’既 已,inlast ode. 亟一急,expressing ‘extreme urgency. 只且 (tseu) go together, particles untranslateable. -see i. II. 1. It here represents the St. 2.喈一 rapid whistling of the wind, which is the reason, probably, that it is made to rhyme with and 歸罪 denotes 'the app. of the falling snow, scattered about.' Choo takes here in the sense of 大歸 ‘going away for good.. 只旣其其同 攜好惠匪 且。亟邪。虚車手我而烏 3 Nothing red is seen but foxes, Nothing black but crows. Ye who love and regard me, Let us join hands, and go together in our carriages. Is it a time for delay? The urgency is extreme! XVII. Tsing neu. 蹰首見而隅於俟其静。 踟搔不愛城我姝。女 1 How lovely is the retiring girl! St.3. She was to await me at a corner of the wall. Loving and not seeing her, I scratch my head, and am in perplexity. Foxes and crows were both creatures of evil omen. Every thing about Wei was of evil 莫赤匪狐-無有赤而 10: in 2, cat. 15, t. 1: in 3, , cat. 5, t.1: in all the stanzas, *, ib. cat. Ode 17. Narrative. A GENTLEMAN DEPLORES HIS DISAPPOINTMENT IN NOT MEETING A LADY many odes, more or less of a similar character, 章 女 I do not agree with them. It is allowed on all hands that Choo's interpretations are the most natural deductions from the words of the odes; but it is alleged that he is superficial, and that the deeper we dig, the more do we find to support the older views. Here and elsewhere I have tried to follow Maou and his advocates in all their researches; but it is often impossible to assent to their conclusions without the entire surrender of one's own judgment. St. 1. means 'still,' 'quiet,' 'retiring.' The idea which it conveys is of one who is modest and correct; and this is held to be inconsistent with Choo's view. Still, the speaker would not be likely to give a bad character to the lady, who was bestowing her favours on him. Ts'aou Suychung (; Sung dyn.) distinguishes between and and, or the rambling girls' of i.IX. The latter were girls of the common people, whose circumstances did not allow them to keep themselves immured in the harem, whereas the former were daughters of officers' families, who could and did keep themselves so retired. On this view in the text need not say anything of the character of the lady. only to say, 'Like rulers, like people. On 1, 'beautiful.' Maou's that we have a description of what the marchioness should have been. The imperial editors give both views in their notes, inclining themselves to maintain that of Maou. It will be seen from the notes below that -'a corner of the city wall.', denotes the app of a man stopping as he walks,' and hence is used to signify irresolute,' 'perplexed.'-Morrison quotes the stanza under and remarks on 貽。美匪自說彤 女其變 人之且歸女有彤其 之為異。荑。美。煒管變。 2 How handsome is the retiring girl! 3 She presented to me a red tube. Bright is the red tube; I delight in the beauty of the girl. From the pasture lands she gave me a shoot of the white grass, Truly elegant and rare. It is not you, O grass, that are elegant; You are the gift of an elegant girl. the last line:-'It is curious to mark the similarity which exists among men of every clime and every age. Man, when vexed and embarrassed, scratches his head with his hand, in China as in Europe, both in ancient and modern times.' Let us see what Maou makes of the stanza. denotes correct and quiet. When a lady's be many things of small tubes, painted or varnished red, among a young lady's possessions, one of which she might present to a friend or admirer. Maou makes the 'red reed' to have been an instrument used by a literate class of ladies in the harem, who acted as secretaries to the mistress, and recorded the rules and duties for all the inmates; and then he says that the virtue is correct and quiet, and she acts accord-presenting the red reed is equivalent to acing to law and rule, she is one to be pleased with. 妹 means beautiful; quainting the speaker with the exact obedience she paid to the ancient regulations of the harem! The mere statement of this view is its refutation. Choo says that means 'red means to wait. We have a corner of the city wall" to express what was high and could not be passed over.' This is all we have from Maou. Expanding and explaining his view, Ying-tah says, "The meaning is, There is a correct and modest girl, who is beautiful, and could be submissive and obedient to her husband, waiting till she is assured of its propriety before doing anything, guarding herself as by a city wall, which is the beauty of the girl. high and cannot be passed over. Such is her virtue, and therefore I love her, and wish she were the ruler's mate. Since I love her in my heart, and cannot see her, I scratch my head, and look perplexed.' I am persuaded the stu like;' but it is the brilliance of the colour, and not the colour itself, which is intended. it (-) and are cognate in meaning, 'to be pleased with,' 'to delight in.' dent who cares to read this with attention will pronounce it to be mere drivelling. The meaning which it is thus attempted to force on the 2d line is simply ridiculous. St. 2., -as in XIV. 1.-'to present to.' is 'a red reed or tube;' but what article is denoted by it, we of course, cannot tell. The bamboo tubes, with which pencils are now made, are called. There might St. 3. 牧一牧地, ‘pasture grounds’歸 -, 'to give,' or 'to send to;'-as in Ana. XIII. i. 1. 荑 means ‘a plant just sprouting.' It is accepted, here, that the plant was the or -here, as often, 'you,' -, it is not,' The rhymes are—in st. 1, *,,, cat. 4, t. 1; in 2,,, cat. 14;,, cat. 15, t. 2: in 3,,, cat. 1, t. 1. 得離 魚邋浼 新邋 際 浼臺傺 得此戚施 離之 燕婉之 網之設 條不殄 施。 求則 投。殄 洒R鮮 之河 求水 1 Fresh and bright is the New Tower, On the waters of the Ho, wide and deep. A pleasant, genial mate she sought, [And has got this] vicious bloated mass! 2 Lofty is the New Tower, On the waters of the Ho, flowing still. 3 It was a fish net that was set, A pleasant, genial mate she sought, 新臺有此河水 之河 求水 Ode 18. Narrative and allusive. SATIRIZING | form a sort of grain-barrel, it presents the ap THE MARRIAGE OF DUKE SEUEN AND SEUEN KEANG. In the introduction to the notes on ode 9, it has been stated how duke Senen took to himself the lady who had been contracted to marry his son Keih. It is only necessary to add here, that to accomplish his purpose, he caused a tower to be built on the Ho, where he received the lady on her way from Ts'e and forced her. The general opinion of scholars is that the tower was in the pres. dis. of Kwan pearance of a man bloated and swollen, so that he cannot stoop down, and hence the characters were used as a designation of that disease. However we may account for the applications of the terms, they were so employed.-so long ago. The disease must have been dropsy. We are not to suppose that duke Seuen did suffer from this; he is here spoken of as doing so, to indicate his loathsomeness. Choo explains by shing (觀城), dep. Ts'aou-chow, Shan-tung. 少, few;’but I do not see how the word can St. 1. 泚一鮮明, fresh and bright. The Shwoh-wăn quotes the line with 玭, which is, probably, the more correct reading. 瀰瀰 denotes 'the full appearance of the stream.' 燕婉 is explained by 安順 quiet and docile,' and is understood as descriptive of Keih-tsze, whom Seuen Keang should have married. Two meanings are given in the dict. to The first is, 'a coarse bamboo mat;’ the 2d, ‘an ugly disease, which is said to prevent its subjects from stooping down. Choo observes that if you roll up a bamboo mat, so as to here be construed with that meaning. I take it, with K'ang-shing, as= 善‘good.’ the app. of a stream flowing quietly Yen St. 2. 洒一高峻, lofty 浼浼 denotes Ts'an accepts the account of it as the 'app. of a tion if the character be read mei; but the pronunciation here is meen; means 'to cut off,' ‘to exterminate,'–a meaning which is_inapplicable here. I must again agree with Kangshing, who thinks 殄 was an old form of 腆 muddy stream.' Such should be its significa XIX. Urh-tsze. 不願汎二中願汎 瑕言汎子心言 有思其乘養思 害。子。 逝。舟。養子。景舟。 1 The two youths got into their boats, Whose shadows floated about [on the water]. I think longingly of them, And my heart is tossed about in uncertainty. 2 The two youths got into their boats, Which floated away [on the stream]. I think longingly of them; Did they not come to harm? 二子乘舟 St.3. The hung is described as a large species | rather than run away, the other made him drunk, see on IX.3. of the yen (); meet with ;' here—'to come or fall into.' 'to is the name for another 'ugly infliction' of an opposite nature to that denoted by k'euch'oo. That prevents a man from bending down; this prevents him from standing up straight. It is what is now called, or hunch-back. should supplement the last line of the other stanzas. The 得此 shows how we The rhymes are in st.1,泚瀾,鮮 (prop. cat. 14), cat.15, t.2: in 2, ., . , cat. 13: in 3, *, *, cat.17. Ode 19. Narrative. SURMISES AS TO THE DEATH OF TWO SONS OF DUKE SEUEN. See again the introductory note to ode 9. Seuen Keang and Soh, one of her sons, had long plotted to get rid of Keih-tsze, the duke's son by E Keang, to clear the way for Soh's succession took his boat, personated him, and was murdered by the ruffians;-thus endeavouring by the sacrifice of himself to save his brother. When Keih-tsze recovered from the effects of his intoxication, and found that Show was gone, he divined his object, and followed after him in another boat. It was too late. He approached the spot, crying out in language which must always recal to a western reader the words of Nisus, 'Me, me! adsum qui feci; in me convertite ferrum.' But Show was already murdered, and the ruffians, 'that they might make no mistake,' put Keih-tsze to death also. The duke gave out that his sons had been killed by bandits, but the people had their suspicions, and they are supposed to have expressed them enigmatically in the two verses of this ode. St. 1. The 二子 are Show and Keih-tsze. to the State; and at last the duke was prevailed the vessels vividly before us, floating on the 汎 see on I. i. The repetition of the term sets on to send him on a mission to Ts'e, having ar ranged beforehand that he should be waylaid by ruffians and murdered, soon after he landed on the northern bank of the Ho. Show, Seuen Keang's other son, became aware of this design, and as there was a close, brotherly, intimacy between him and Keih-tsze, he told him of it, and exhorted him to make his escape to another State. Keih-tsze being resolved to meet his fate water. The idea of floating about,' without direction, which is said to express, does not apply, however to the 2d 1. of the next stanza. is the old form of a shadow.' The was first added by Koh Hung) of the Tsin dynasty.-as in V. 3, 4; but the 6 there makes us look more for a substantive |