From the archive

The Lî Kî, Books XI–XLVI — Sacred Books of China Part IV, SBE Vol. 28 (trans. James Legge, 1885)

English·1879–1910·trans. James Legge·324 passages

The text · part 12 of 16

If there were visitors, the presiding mourner bowed to them on their arrival, and escorted them.

The husbands and wives (of the family) waited for him at the wailing-places for every morning and evening, without making any change.

8. When one hurries to the mourning rites for a mother, he wails with his face to the west, giving full vent to his sorrow. He then ties up his hair, bares his arms, descends from the hall, and goes to his station on the east, where, with his face to the west, he wails and goes through the leaping. After that, he covers his arms and puts on the cincture and sash in the corridor on the east. He bows to the visitors, and escorts them (to the gate) in the same way as if he had hurried to the rites for his

1 This seems to imply that, in the preceding paragraphs, he had been the principal mourner.

368 THE Li xt. BK, XXX.

father. At the wailing on the day after, he does not tie up his hair.

9. When a wife? hurried to the mourning rites, she went up to the hall by the (side) steps on the east, and knelt on the east of the coffin with her face to the west. There she wailed, giving full vent to her grief. Having put on the lower cincture on the east®, she went to the station (for wailing), and there leaped alternately with the presiding mourner.

10. When one, hurrying to the mourning rites, did not arrive while the coffin with the body was still in the house, he first went to the grave; and there kneeling with his face to the north, he wailed, giving full vent to his sorrow. The principal mourners have been waiting for him (at the grave), and have taken their stations,—the men on the left of it, and the wives on the right. Having gone through the leaping, and given full expression to his sorrow, he tied up his hair, and went to the station of the principal mourners on the east. In his headband of sackcloth, and sash with the ends tucked up, he wailed and went through the leaping. He then bowed to the visitors, and returned to his station, going (again) through the leaping, after which the director announced that the business was over’.

11. He then put on the cap, and returned to the

1 An aunt, sister, or daughter of the family, who was married, and hurried to the family home from her husband’s.

* I suppose this was in the corridor on the east. The rule was for the women to dress in an apartment ; but a distinction was made between those residing in the house, and those who returned to it for the occasion.

* It is understood that this mourner was the eldest and rightful son of the deceased,

p. 369

The rule was for the women to dress in an apartment ; but a distinction was made between those residing in the house, and those who returned to it for the occasion.

* It is understood that this mourner was the eldest and rightful son of the deceased,p. 369 house. There he entered at the left side of the door, and, with his face to the north, wailed and gave full vent to his sorrow. He then tied up his hair, bared his arms, and went through the leaping. Going to his station on the east, he bowed to the visitors, and went through the leaping. When the visitors went out, the presiding mourner bowed to them, and escorted them. When other visitors afterwards arrived, he bowed to them, went through the leaping, and escorted them in the same way. All the principal mourners and their cousins went out at the gate, wailed there and stopped, when the directors instructed them to go to the shed. At the wailing next day, he bound up his hair and went through the leaping. At the third wailing, he did the same. On the third day he completed his mourning dress (as was required). After the fifth wailing, the director announced that the business was over.

12. Wherein the usages at the rites for a mother differed from those at the rites for a father, was that there was but one tying up of the hair. After that the cincture was worn to the end of the business. In other respects the usages were the same as at the rites for a father.

13. At the rites for other relations, after those for the mother or father, the mourner who did not arrive while the coffin was in the house, first went to the grave, and there wailed with his face to the west, giving full vent to his sorrow. He then put on the cincture and hempen sash, and went to his station on the east, where he wailed with the presiding mourner, and went through the leaping. After this he covered his arms; and if there were visitors, the presiding mourner bowed to them and escorted them away.

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370 THE Lf xf. BK, XXXI.

If any other visitors afterwards came, he bowed to them, as in the former case, and the director announced that the business was over.

Immediately after he put on the cap, and returned to the house. Entering at the left side of the door, he wailed with his face to the north, giving full vent to his sorrow. He then put on the cincture, bared his arms, and went through the leaping. Going then to the station on the east, he bowed to the visitors, and went through the leaping again. When the visitors went out, the presiding mourner bowed to them and escorted them.

At the wailing next day, he wore the cincture, bared his arms, and went through the leaping. At the third wailing he did the same. On the third day, he put on his mourning-garb ; and at the fifth wailing, the director announced that the business was over.

14. When one heard of the mourning rites, and it was impossible (in his circumstances) to hurry to be present at them, he wailed and gave full vent to his grief. He then asked the particulars, and (on hearing them) wailed again, and gave full vent to his grief. He then made a place (for his mourning) where he was, tied up his hair, bared his arms, and went through the leaping. Having covered his arms, and put on the higher cincture and his sash with the ends tucked up, he went (back) to his place. After bowing to (any visitors that arrived), he returned to the place, and went through the leaping. When the visitors went out, he, as the presiding mourner, bowed to them, and escorted them outside the gate, returning then to his station. If any other visitors came afterwards, he bowed to them and went through the leaping, then escorting them as before,

p. 371

At the wailing next day, he tied up his hair, bared his arms, and went through the leaping. At the third wailing he did the same. On the third day, he put on his mourning-garb, wailed, bowed to his visitors, and escorted them as before.

15. If one returned home after the mourning rites had been completed, he went to the grave, and there wailed and went through the leaping. On the east of it, he tied up his hair, bared his arms, put on the cincture for the head, bowed to the visitors, and went (again) through the leaping. Having escorted the visitors, he returned to his place, and again wailed, giving full vent to his grief. With this he put off his mourning. In the house he did not wail. The principal mourner, in his treatment of him, made no change in his dress; and though he wailed with him (at the grave), he did not leap.

16. Wherein at other observances than those for the death of a mother or father, the usages (of such a mourner) differed from the above, were in the cincture for the head and the hempen sash.

17. In all cases where one made a place for his mourning (away from home), if it were not on occasion of the death of a parent, but for some relative of the classes not so nearly related, he went to the Station, and wailed, giving full vent to his sorrow. Having put on the cincture for the head and the girdle on the east, he came back to the station, bared his arms, and went through the leaping. He then covered his arms, bowed to the visitors, went back to the station, wailed, and went through the leaping. (After this), he escorted the guests away, and came back to the station, when the director told him to go to the shed. When the fifth wailing

Bb2

372 THE Lf xf. BK. XXXI.

He then covered his arms, bowed to the visitors, went back to the station, wailed, and went through the leaping. (After this), he escorted the guests away, and came back to the station, when the director told him to go to the shed. When the fifth wailing

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372 THE Lf xf. BK. XXXI.

was ended, on the third day, the presiding mourner came forth and escorted the visitors away. All the principal mourners and their cousins went out at the gate, wailed, and stopped there. The director announced to them that the business was ended. He put on his full mourning-garb, and bowed to the visitors 1.

18. If the home were far distant from the place which an absent mourner has selected (for his wailing), they completed all their arrangements about dress before they went to it.

19. One hurrying to mourning rites, if they were for a parent, wailed when he looked towards the district (where they had lived); if they were for a relation for whom nine months’ mourning was due, he wailed when he could see the gate of his house ; if for one to whom five months’ mourning was due, he wailed when he got to the door; if for one to whom but three months’ mourning was due, he wailed when he took his station.

20. For one of his father’s relations (for whom he did not need to go into mourning) a man wailed in the ancestral temple; for one of his mother or wife's relatives, in the back chamber of the temple; for his teacher, outside the gate of the temple; for a friend, outside the door of the back-chamber; for an acquaintance, in the open country, having pitched a tent for the occasion. Some say the wailing for a mother’s relation was in the temple.

1 The Xhien-lung editors think that this last sentence is an erroneous addition to the paragraph. But with other parts of it there are great difficulties, insoluble difficulties, as some of the commentators allow.

p. 373

21. In all cases where a station was selected, away from the house of mourning, for paying funeral rites, no offerings were put down (for the departed).

Vv 22. For the son of Heaven they wailed nine days ; for a feudal prince, seven; for a high minister and Great officer, five; for another officer, three.

J 23. A Great officer, in wailing for the ruler of his state, did not presume to bow to the visitors.

24. Ministers in other states, when they selected a station (for their wailing), did not presume to bow to the visitors.

J 25. Officers, of the same surname with a feudal prince, (but who were serving in other states), also made a place at which to wail for him (on his death).

{ 26. In all cases where one made a place (at a distance) at which to wail, he bared his arms (only) once.

J 27. In condoling with (the relations of) an acquaintance (after he has been buried), one first wailed in his house, and afterwards went to the grave, in both cases accompanying the wailing with the leaping. He alternated his leaping with that of the presiding mourner, keeping his face towards the north.

He alternated his leaping with that of the presiding mourner, keeping his face towards the north.

28. At all mourning rites (in a household), if the father were alive, he acted as presiding mourner ; if he were dead, and brothers lived together in the house, each presided at the mourning for one of his own family-circle. If two brothers were equally related to the deceased for whom rites were necessary, the eldest presided at those rites; if they were not equally related, the one most nearly so presided.

374 THE Li xf. BK. XXXI.

29. When one heard of the death of a brother or cousin at a distance, but the news did not arrive till the time which his own mourning for him would have taken had expired!, he (notwithstanding) put on the mourning cincture, bared his arms, and went through the leaping. He bowed to his visitors, however, with the left hand uppermost 3.

30. The only case in which a place was chosen in which to wail for one for whom mourning was not worn, was the death of a sister-in-law, the wife of an elder brother. For a female member of the family who had married, and for whom therefore mourning was not worn, the hempen sash was assumed.

31. When one had hurried to the mourning rites, and a Great officer came (to condole with him), he bared his arms, and bowed to him. When he had gone through the leaping, he covered his arms. In the case of a similar visit from an ordinary officer, he covered his arms, and then bowed to him.

1 The deceased would have been only in the degree of relationship, to which five months’ mourning was assigned.

3 The left hand uppermost made the bow one more appropriate to a festive occasion.

BOOK XXXII. WAN SANG
OR

QUESTIONS ABOUT MOURNING RITES+.

1. Immediately after his father’s death, (the son VA put off his cap, and) kept his hair, with the pin in it, in the bag (of silk); went barefoot, with the skirt of his dress tucked up under his girdle; and wailed with his hands across his breast. In the bitterness of his grief, and the distress and pain of his thoughts, his kidneys were injured, his liver dried up, and his lungs scorched, while water or other liquid did not enter his mouth, and for three days fire was not kindled (to cook anything for him). On this account the neighbours prepared for him gruel and rice-water, which were his (only) meat and drink. The internal grief and sorrow produced a change in his outward appearance; and with the severe pain in his heart, his mouth could not relish any savoury food, nor his body find ease in anything pleasant.

2. On the third day there was the (slighter) dressing (of the corpse). While the body was on the couch it was called the corpse; when it was put into the coffin, it was called &i0. At the moving of the corpse, and lifting up of the coffin, (the son) wailed and leaped, times without number. Such was the bitterness of his heart, and the pain of his thoughts, so did his grief and sorrow fill his mind and

At the moving of the corpse, and lifting up of the coffin, (the son) wailed and leaped, times without number. Such was the bitterness of his heart, and the pain of his thoughts, so did his grief and sorrow fill his mind and

1 See the introductory notice, vol. xxvii, pp. 47, 48.

376 , THE Lf kf. BK, XXXII.

agitate his spirit, that he bared his arms and leaped, seeking by the movement of his limbs to obtain some comfort to his heart and relief to his spirit.

The women could not bare their arms, and therefore they (merely) pushed out the breast, and smote upon their hearts, moving their feet with a sliding, hopping motion, and with a constant, heavy sound, like the crumbling away of a wall. The expression of grief, sorrow, and deep-seated pain was extreme ; hence it is said, ‘With beating of the breast and movement of the feet, did they sorrowfully accompany the body; so they escorted it away, and so did they come back to meet its essential part.’

When (the mourners) went, accompanying the coffin (to the grave), they looked forward, with an expression of eagerness, as if they were following some one, and unable to get up to him. When returning to wail, they looked disconcerted, as if they were seeking some one whom they could not find. Hence, when escorting (the coffin), they appeared full of affectionate desire ; when returning, they appeared full of perplexity. They had sought the (deceased), and could not find him; they entered the gate, and did not see him; they went up to the hall, and still did not see him; they entered his chamber, and still did not see him; he was gone; he was dead; they should see him again nevermore. Therefore they wailed, wept, beat their breasts, and leaped, giving full vent to their sorrow, before they ceased. Their minds were disappointed, pained, fluttered, and indignant. They could do nothing more with their wills; they could do nothing but continue sad.

3. In presenting the sacrifice (of repose) in thep. 377 ancestral temple }, (the son) offered it (to his parent) in his disembodied state, hoping that his shade would peradventure return (and enjoy it), When he came back to the house from completing the grave, he did not venture to occupy his chamber, but dwelt in the mourning shed, lamenting that his parent was now outside. He slept on the rushes, with a clod for his pillow, lamenting that his parent was in the ground. Therefore he wailed and wept, without regard to time; he endured the toil and grief for three years. His heart of loving thoughts showed the mind of the filial son, and was the real expression of his human feelings.

Therefore he wailed and wept, without regard to time; he endured the toil and grief for three years. His heart of loving thoughts showed the mind of the filial son, and was the real expression of his human feelings.

4. Some one may ask, ‘Why does the dressing not commence till three days after death ?’ and the answer is :—When his parent is dead, the filial son is sad and sorrowful, and his mind is full of trouble. He crawls about and bewails his loss, as if the dead might come back to life ;—how can he hurriedly take (the corpse) and proceed to dress it? Therefore, when it is said that the dressing does not begin till after three days, the meaning is, that (the son) is waiting that time to see if (his father) will come to life. When after three days there is no such return, the father is not alive, and the heart of the filial son is still more downcast. (During this space, moreover), the means of the family can be calculated, and the clothes that are necessary can be provided and made accordingly; the relations and connexions who live at a distance can also arrive. Therefore the sages decided in the case

1 «Not the structure so called,’ says Khung Ying-t4, ‘but the apartment where the coffin had been ;’—now serving for the occasion as a temple.

378 THE Li xf. BE. XXXII.

that three days should be allowed, and the rule was made accordingly.

5. Some one may ask, ‘ How is it that one with the cap on does not bare his arms, and show the naked body ?’ and the answer is :—The cap is the most honourable article of dress, and cannot be worn where the body is bared, and the flesh ‘exposed. Therefore the cincture for the head is worn instead of the cap, (when the arms are bared).

6. And so, when a bald man does not wear the cincture, and a hunchback does not bare his arms, and a lame man does not leap, it is not that they do not feel sad, but they have an infirmity which prevents them from fully discharging the usages. Hence it is said that in the rites of mourning it is the sorrow that is the principal thing. When a daughter wails, weeps, and is sad, beats her breast, and wounds her heart; and when a son wails, weeps, is sad, and bows down till his forehead touches the ground, without regard to elegance of demeanour, this may be accepted as the highest expression of sorrow.

7. Some one may ask, ‘What is the idea in the cincture?’ and the reply is:—The cincture is what is worn while uncapped. The Rule says, ‘Boys do not wear (even) the three months’ mourning; it is only when the family has devolved on one that he does so.’ The cincture, we may suppose, was what was worn in the three months’ mourning (by a boy). If he had come to be the representative of the family, he wore the cincture, and carried the staff.

8. Some one may ask, ‘ What is meant by (using) the staff ?’ and the answer is:—The staff of bamboo

p. 379

If he had come to be the representative of the family, he wore the cincture, and carried the staff.

8. Some one may ask, ‘ What is meant by (using) the staff ?’ and the answer is:—The staff of bamboop. 379 and that of elaeococcus wood have the same meaning. Hence, for a father they used the black staff of bamboo; and for a mother, the square-cut staff, an elaeococcus branch 1.

9. Some one may say, ‘ What is meant by (using) the staff?’ and the answer is :—When a filial son mourns for a parent, he wails and weeps without regard to the number of times; his endurances are hard for three years; his body becomes ill and his limbs emaciated ; and so he uses a staff to support his infirmity.

10. Thus, while his father is alive he does not dare to use a staff, because his honoured father is still living. Walking in the hall, he does not use the staff ;—refraining from doing so in the place where his honoured father is. Nor does he walk hastily in the hall,—to show that he is not hurried. Such is the mind of the filial son, the real expression of human feeling, the proper method of propriety and righteousness. It does not come down from heaven, it does not come forth from the earth ; it is simply the expression of the human feelings.

1 On Book XIII, i, 3 the KAien-lung editors say, that the staff of old men was carried with the root up, and the other end down; but the opposite was the case with the mourner’s staff. In breaking off a branch from the elaeococcus, the part which has been torn from the stem is cut square and smooth with a knife. The round stem of the bamboo cane is said by KA’n Héo to symbolise heaven, and so is carried for a father; and the square cut end of the dryandria branch, to symbolise earth, and so is used for a mother. But this fanciful explanation seems to be contrary to what is said in the conclusion of the next paragraph,

BOOK XXXIII. FU WAN

SUBJECTS FOR QUESTIONING ABOUT THE
MOURNING DRESS‘.

1. The Directory for Mourning says, ‘There are cases in which parties wear deep mourning, while those, in consequence of their connexion with whom they assume it, wear only light.’ Such is the mourning for her husband’s mother by the wife of the son of a ruler (by a concubine)?

2. ‘ There are cases in which parties wear light mourning, while those, in consequence of their connexion with whom they assume it, wear deep mourning. Such is the mourning of a husband for the father or mother of his wife °.

3. ‘There are cases in which parties wear mourning, while those, in consequence of their connexion with whom they have a relation with the deceased, wear none.’ Such is the case of the wife of a ruler’s

1 See the introductory notice, vol. xxvii, page 48.

* Such a son of a ruler could wear for his mother only the nine months’ mourning, as she was but a concubine with an inferior position in the family ; but his wife wore mourning for her for a whole year. She was her husband’s mother, and the general rule for mourning in such a relation was observed by the wife, without regard to the deceased being only a concubine, and whether the ruler were alive or dead.

* The wife, of course, observed the three years’ mourning for her father or mother ; the husband only the three months.

p. 381

son with the cousins of her husband on the female side }.

4. ‘There are cases in which parties wear no mourning, while those, in consequence of their connexion with whom they have a relation with the deceased, do wear mourning.’ Such is the case of a ruler’s son with regard to the father and mother of his wife.

5. The Directory of Mourning says, ‘When his mother has been divorced, the son wears mourning for the relatives of the wife whom his father has taken in his mother’s place.’ When his mother has died ? (without being divorced), a son wears mourning for her relatives. Wearing mourning for his own mother’s relatives, he does not do so for those of the step-mother, whom his father may have taken in her place.

6. After the sacrifice at the end of the first year, during the three years’ rites, and after the interment has taken place, during those of one year (occurring at the same time), the mourner puts on the old sash of dolychos cloth, and the headband of the one year’s mourning, wearing (at the same time) the sackcloth of the mourning for nine months.

7. The same thing is done (after the interment) during the nine months’ mourning.

8. No change is made (after the interment) during the five months’ mourning.

1 There is no satisfactory account of this case.

3 Khan Hao supposed that this mother ‘dying’ is the wife whom his father has taken in the place of the son’s divorced mother. The Khien-lung editors rightly point out his error; but it shows how these notices are perplexing, not only to foreigners, but also to native scholars.

382 THE Li xi. BK. XXXII, g. Where they wore the sash with the roots of hemp wrought into the cloth ', they changed it for the dolychos cloth of the three years’ mourning *.

10. After the sacrifice at the end of a year, if there occurred an occasion for using the hempen sash with the roots cut off, (the mourner) put on the proper band along with the higher cincture. When the cincture was no longer worn, he put off the band. When it was proper to use the band, the rule was to wear it; and when the occasion for it was over, it was put off*,

When the cincture was no longer worn, he put off the band. When it was proper to use the band, the rule was to wear it; and when the occasion for it was over, it was put off*,

11. In the mourning for five months they did not change the cap worn for the sacrifice at the end of a year. If there were occasion to wear the cincture, then they employed the band proper for the mourning of three months or five months; still keeping on the first dolychos sash. The linen of the three months’ mourning did not make it necessary to change the dolychos cloth of the five months; nor the linen of the five months to change the dolychos cloth of the nine months. Where the roots were woven with the cloth, they made a change.

12. On occasion of mourning for a minor, if he were of the highest grade or the middle, they changed the dolychos cloth of the three years’ mourning, assuming it when they had completed the months of these intervening rites. This was done not because of the value set on the linen, but because no change was made at the conclusion ofp. 383 the wailing. They did not observe this rule on the death of a minor of the third or lowest grade.

1 This was done in the mourning for nine months and for one year; not in that for five months and for three.

3 That is, after the sacrifice at the end of the first year.

* This is supplementary, say the K/ien-lung editors, to paragraph 8.

13. The ruler of a state mourned for the son of Heaven for the three years, His wife observed the rule of a lady of her husband’s house who had gone to her own married home in mourning for the ruler?.

14. The heir-son of a ruler did not wear mourning for the son of Heaven’.

15. A ruler acted as presiding mourner at the mourning rites for his wife, his eldest son, and that son's wife.

16. The eldest son of a Great officer, by his proper wife, wore the mourning of an ordinary officer for the ruler, and for the ruler’s wife and eldest son.

17. When the mother of a ruler had not been the wife (of the former ruler) *, the body of the ministers did not wear mourning (on her death). Only the officers of the harem, the charioteer and the man-atarms who sat on the left, followed the example of the ruler, wearing the same mourning as he did.

18, Fora high minister or Great officer, (during the mourning rites for him), the ruler wore in his place the coarse glazed linen, and also when he went out (on business not connected with the rites). If it were on business connected with them, he wore also the skin-cap and the band round it. Great ' officers dressed in the same way for one another, At the mourning rites for their wives, they wore the same dress, when they were going to be present at

1 That is, for a year.

* To avoid suspicion, say the commentators. I do not see it.

* She must have been a concubine, or some inferior member of the harem. Various circumstances might have concurred to lead to her son’s succession to the state.

384 THE Lf xf. BK. XXXIIT.

* To avoid suspicion, say the commentators. I do not see it.

* She must have been a concubine, or some inferior member of the harem. Various circumstances might have concurred to lead to her son’s succession to the state.

384 THE Lf xf. BK. XXXIIT.

those rites; if they went out (on other business), they did not wear it.

19. In all cases of going to see others, the visitor (being in mourning for his parents) did not put off his headband. Even when he was going to the ruler’s court, he did not put it off; it was only at the ruler’s gate that (in certain circumstances) he put off-his sackcloth. The Directory of Mourning says, ‘A superior man will not take away from others their mourning rites ;’ and so it was deemed wrong to put off this mourning.

20. The Directory of Mourning says, ‘Crimes are many, but the punishments are only five. The occasions for mourning are many, but there are only five varieties of the mourning dress. The occasions must be arranged, according as they are classed in the upper grade or in the lower.’

BOOK XXXIV. KXIEN KWAN
OR

TREATISE ON SUBSIDIARY POINTS IN MOURNING
USAGES}.

1. What is the reason that the headband worn with the frayed sackcloth, for a father, must be made of the fibres of the female plant ?

Those fibres have an unpleasant appearance, and serve to show outwardly the internal distress. The appearance of (the mourners), wearing the sackcloth for a father with its jagged edges, corresponds to those fibres. That of one wearing the sackcloth for a mother with its even edges, corresponds to the fibres of the male plant. That of one wearing the mourning of nine months looks as if (the ebullitions of sorrow) had ceased. For one wearing the mourning of five months or of three, his (ordinary) appearance is suitable.

These are the manifestations of sorrow in the bodily appearance *.

2. The wailing of one wearing the sackcloth for his father seems to go forth in one unbroken strain ;

1 See the introductory notice, vol. xxvii, pp. 48, 49.

2? The 3sti (#) is commonly understood to be the female plant of hemp, and the hsf RR) the male plant; though some writers reverse the application of the names. The fibres of both are dark coloured, those of the female plant being the darker. The cloth woven of them was also of a coarser texture. All admit that the subject here is the mourning band for the head; the staffs borne in the two cases corresponded in colour to the band.

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386 THE Li xf. BK. XXXIV.

that of one wearing the sackcloth for a mother is now and then broken; in the mourning of nine months, after the first burst there are three quavers in it, and then it seems to die away; in the mourning of five and three months, an ordinary wailing is sufficient.

These are the manifestations of sorrow in the modulations of the voice}.

3. When wearing the sackcloth for a father, one indicates that he hears what is said to him, but does not reply in words; when wearing that for a mother, he replies, but does not speak of anything else. During the nine months’ mourning, he may speak of other things, but not discuss them; during that for five months or three months, he may discuss other things, but does not show pleasure in doing so.

These are the manifestations of sorrow in speech.

4. When a mourner has assumed the sackcloth for a father, for three days he abstains from food; for a mother, for two days. When he has commenced the nine months’ mourning, he abstains from three meals; in that of five months or of three, for two. When an ordinary officer takes part in the dressing (of a friend’s corpse), he abstains from one meal. Hence at the mourning rites for a father or mother, when the coffining takes place, (the children) take gruel made of a handful of rice in the morning, and the same quantity in the evening. During all the rites for a mother, they eat coarse rice and drink only water, not touching vegetables or fruits. During the nine months’ mourning (the mourners) do not eat pickles or sauces; during that of five months or three, they do not drink prepared liquor, either new or old.

1 T have read something of the same kind as this account of the
‘wailing ’ in descriptions of the ‘keening’ at an Irish wake.

p. 387

These are the manifestations of sorrow in drinking and eating.

5. In the mourning rites for a parent, when the sacrifice of repose has been presented, and the wailing is at an end, (the mourners) eat coarse rice and drink water, but do not take vegetables or fruits. At the end of a year, when the smaller felicitous sacrifice has been offered, they eat vegetables and fruits. After another year, when the greater sacrifice has been offered, they take pickles and sauces. In the month after, the final mourning sacrifice is offered, after which they drink the must and spirits. When they begin to drink these, they first use the must; when they begin to eat flesh, they first take that which has been dried. —

6. During the mourning rites for a parent, (the son) occupied the mourning shed, and slept on straw with a clod for his pillow, without taking off the headband or girdle. If they were for a mother (only, and the father were still alive), he occupied the unplastered chamber, (sleeping on) typha rushes with their tops cut off, but not woven together. During the mourning for nine months, there was a mat to sleep on. In that for five months or for three, it was allowed to use a bedstead.

" These were the manifestations of sorrow given in the dwelling-places.

During the mourning for nine months, there was a mat to sleep on. In that for five months or for three, it was allowed to use a bedstead.

" These were the manifestations of sorrow given in the dwelling-places.

7. At the mourning rites for a parent, after the sacrifice of repose, and when the wailing was concluded, the (inclined) posts of the shed were set up on lintels, and the screen (of grass) was clipped, while typha rushes, with the tops cut off, but not woven together, (were laid down for a mat). At the end of a year, and when the smaller felicitous sacrifice had cc2

388 THE Lf xt. BK. XXXIV.

been offered, (the son) occupied the unplastered chamber, and had a mat to sleep on. After another year, and when the greater felicitous sacrifice had been offered, he returned to his old sleeping apartment. Then, when the final mourning sacrifice was offered, he used a bedstead.

8. The mourning with jagged edges was made with 3 shang of hempen threads, each shAng containing 81 threads; that with even edge, with 4, 5, or 6 shang; that for the nine months’ mourning with 7, 8, or 9 shang; that for the five months, with 10, 11, or 12 shang; that for the three months, with 15 shang less the half’. When the thread was manipulated and boiled, no such operation was performed on the woven cloth, and it was called sze (or the material for the mourning of three months).

These were the manifestations of sorrow shown in the fabrics of the different mournings.

9. The sackcloth with jagged edges (worn at first) was made with 3 shang, but after the sacrifice of repose when the wailing was over, this was exchanged for a different fabric made with 6 shang, while the material for the cap was made with 7 shang. The coarse sackcloth for a mother was made with 4 shang, exchanged for a material made with 7 shang, while the cap was made with one of 8 shang.

When the hempen dress is put away (after the burial), grass-cloth is worn, the sash of it being made of triple twist. At the end of the year, and when the first felicitous sacrifice has been offered, (the son) puts on the cap of dyed silk proper to that

? Kd Hsf says, ‘Inexplicable!’

p. 389

sacrifice, and the red collar, still retaining the sash and headband. A son begins at the head, and a woman with the girdle, in putting off their mourning. What is the reason? Because a man considers the head the most important to him, and a woman the waist. In laying aside the mourning, they began with the most important; in changing it, with what was least.

At the end of the second year, and when the greater felicitous sacrifice had been offered, the cap and dress of plain hempen cloth was assumed. After the concluding sacrifice of mourning, in the next month, the black cap and silk of black and white were put on, and all the appendages of the girdle were assumed.

After the concluding sacrifice of mourning, in the next month, the black cap and silk of black and white were put on, and all the appendages of the girdle were assumed.

10, Why is it that in changing the mourning they (first) changed what was the lightest? During the wearing of the sackcloth with jagged edges for a father, if when, after the sacrifice of repose and the end of the wailing, there came occasion to wear the even-edged sackcloth for a mother, that, as lighter, was considered to be embraced in the other, and that which was most important was retained.

After the sacrifice at the end of the year, when there occurred occasion for the mourning rites of nine months, both the sackcloth and grass-cloth bands were worn.

During the wearing of the sackcloth for a mother, when, after the sacrifice of repose and the end of the wailing, there came occasion to wear the mourning for nine months, the sackcloth and grasscloth bands were worn together.

The grass-cloth band with the jagged-edged sackcloth and the hempen band with the even-edged

390 THE Lf xi. BK. XXXIV.

sackcloth were of the same value. The grass-cloth with the even-edged sackcloth and the hempen band of the nine months’ mourning were of the same value, The grass-cloth with the nine months’ mourning and the hempen band with that of five months were of the same value. The grass-cloth with the five months’ mourning and the hempen with that of three months were of the same value. So they wore them together. When they did so, that which was the lighter was changed first.

BOOK XXXV. SAN NIEN WAN
OR

QUESTIONS ABOUT THE MOURNING FOR THREE
YEARS}.

1. What purposes do the mourning rites for three years serve ?

The different rules for the mourning rites were established in harmony with (men’s) feelings. By means of them the differences in the social relations are set forth, and the distinctions shown of kindred as nearer or more distant, and of ranks as more noble or less. They do not admit of being diminished or: added to; and are therefore called ‘The unchanging rules.’

2. The greater a wound is, the longer it remains ; / and the more pain it gives, the more slowly is it healed. The mourning of three years, being appointed with its various forms in harmony with the feelings (produced by the occasion of it), was intended to mark the greatest degree of grief. The sackcloth with jagged edges, the dark colour of the sackcloth and the staff, the shed reared against the wall, the gruel, the sleeping on straw, and the clod of earth for a pillow :—these all were intended to set forth the extremity of the grief.

3. The mourning of the three years came really to an end with (the close of) the twenty-fifth month. The sorrow and pain were not yet ended, and the

1 See the introductory notice, vol. xxvii, pp. 49, 50.

392 THE Lf xf. BK, XXXV.

3. The mourning of the three years came really to an end with (the close of) the twenty-fifth month. The sorrow and pain were not yet ended, and the

1 See the introductory notice, vol. xxvii, pp. 49, 50.

392 THE Lf xf. BK, XXXV.

longing loving thoughts were not yet forgotten ; but in the termination of the mourning dress in this way, was it not shown that there should be an end to the duties rendered to the dead, and that the time was come for the resumption of their duties to the living ?

4. All living creatures between heaven and earth, being endowed with blood and breath, have a certain amount of knowledge. Possessing that amount of knowledge, there is not one of them but knows to love its species. Take the larger birds and beasts :— when one of them has lost its mate, after a month or a season, it is sure to return and go about their old haunts. It turns round and round, utters its cries, now moves, now stops, and looks quite embarrassed and uncertain in its movements, before it can leave the place. Even the smaller birds, such as swallows and sparrows, chatter and cry for a little before they can leave the place. But among all creatures that have blood and breath, there is none which has intelligence equal to man; and hence the feeling of man on the death of his kindred remains unexhausted even till death.

5. Will any one follow the example of those men who are under the influence of their depraved lusts? In that case, when a kinsman dies in the morning, he will forget him by the evening. But if we follow the course of such men, we shall find that they are not equal to the birds and beasts. How can they live with their kindred, and not fall into all disorders ?

6. Will he rather follow the example of the superior man who attends to all the methods by which the feeling of grief is set forth? In that case, thep. 393 twenty-five months, after which the mourning of three years comes to an end, will seem to pass as quickly as a carriage drawn by four horses is whirled past a crevice. And if we continue to indulge the feeling, it will prove to be inexhaustible.

7. Therefore the ancient kings determined the proper medium for mourning, and appointed its definite terms. As soon as it was sufficient for the elegant expression of the varied feeling, it was to be laid aside.

8. This being the case, how is it that (in certain cases the mourning lasts) only for a year? The answer is, that in the case of the nearest kindred, there is a break in it at the end of a year.

g- How is that? The answer is:—The interaction of heaven and earth has run its round; and the four seasons have gone through their changes. All things between heaven and earth begin their processes anew. The rules of mourning are intended to resemble this.

10. Then how is it that there are three years’ mourning (for a parent)? The answer is:—From the wish to make it greater and more impressive, the time is doubled, and so embraces two round years.

The rules of mourning are intended to resemble this.

10. Then how is it that there are three years’ mourning (for a parent)? The answer is:—From the wish to make it greater and more impressive, the time is doubled, and so embraces two round years.

11, What about the mourning for nine months’ and the shorter periods? The answer is :—It is to prevent such mourning from reaching (the longer periods).

12. Therefore the three years should be considered as the highest expression of grief in mourning; the three months and five months, as the lowest ; while the year and the nine months are between them. Heaven above gives an example; earth beneath, a law; and man between, a pattern. The

394 THE Lf xf. BK. XXXV.

harmony and unity that should characterise men living in their kinships are hereby completely shown.

13. Thus it is that in the mourning of three years the highest forms that vary and adorn the ways of men are displayed. Yes, this is what is called the richest exhibition (of human feelings).

14. In this the hundred kings (of all the dynasties) agree, and ancient and modern customs are one and the same. But whence it came is not known.

15. Confucius said, ‘A son, three years after his birth, ceases to be carried in the arms of his parents. The mourning of three years is the universal rule of all under heaven.’

BOOK XXXVI. SHAN tf
OR

THE LONG DRESS IN ONE PIECE}.

1. Anciently the long dress had definite measurements, so as to satisfy the requirements of the compass and square, the line, the balance, and the steelyard. It was not made so short as to show any of the skin, nor so long as to touch the ground. The outside pieces of the skirt joined, and were. hooked together at the side; (the width of) the seam at the waist was half that at the bottom (of the skirt).

2. The sleeve was joined to the body of the dress at the arm-pit, so as to allow the freest movement of the elbow-joint; the length of the lower part admitted of the cuffs being turned back to the elbow. The sash was put on where there were no bones, so as not to interfere with the action of the thighs below or of the ribs above.

3. In the making (of the garment) twelve strips (of the cloth) were used, to correspond to the twelve months. The sleeve was made round, as if fashioned by a disk. The opening at the neck was square, as if made by means of that instrument so named. The cord-like (seam) at the back descended to the ankles, as if it had been a straight line. The edge at the bottom was like the steelyard of a balance, made perfectly even.

4. In this way through the rounded sleeves the arms could be lifted up in walking (for the purpose of salutation) in the most elegant form. The

1 See the introductory notice, vol. xxvii, p. 50.

396 THE Lf xf. BK, XXXVI.

4. In this way through the rounded sleeves the arms could be lifted up in walking (for the purpose of salutation) in the most elegant form. The

1 See the introductory notice, vol. xxvii, p. 50.

396 THE Lf xf. BK, XXXVI.

cord-like seam of the back and the square-shaped collar about the neck in front, served to admonish (the wearer) how his government should be correct and his righteousness on the square. It is said in the Yt, ‘The movement indicated by the second line in Khwin, divided, is “from the straight (line) to the square’.”’ The even edge at the bottom, like the steelyard and balance, admonished him to keep his will at rest, and his heart even and calm.

5. These five rules being observed in the making (of the dress), the sages wore it. In its squareness and roundness they saw its warning against selfishness ; in its line-like straightness they saw its admonition to be correct, and in its balance-like evenness they saw its lesson of impartiality. Therefore the ancient kings attached a high value to it; it could be worn in the discharge of both their civil and military duties; in it they could receive visitors and regulate the cohorts of their armies. It was complete, but not extravagant; it ranked in the second class of good dresses?

6. For ornament, while his parents and grandparents were alive, (a son) wore the dress with its border embroidered. If (only) his parents were alive, the ornamental border was blue. In the case of an orphan son’, the border was white. The border round the mouth of the sleeves and all the edges ‘of the dress was an inch and a half wide.

1 See the symbolism of the second line of the 2nd Hexagram, and especially the lesser symbolism in the znd Appendix, from which the quotation is made ;—vol. xvi, pages 60 and 268.

2 That is, next after the court and sacrificial robes.

* K&ng says that a son whose father was dead was called ‘an orphan son’ up to thirty.

BOOK XXXVII. THAU HU

THE GAME OF PITCH-POT..

1. According to the rules for Pitch-pot, the host carries the arrows in both his hands put together; the superintendent of the archery carries in the same way the stand? on which the tallies were placed; and an attendant holds in his hand the pot.

THAU HU

THE GAME OF PITCH-POT..

2. The host entreats (one of the guests), saying, ‘I have here these crooked? arrows, and this pot with its wry* mouth; but we beg you to amuse yourself with them.’ The guest says, ‘I have partaken, Sir, of your excellent drink and admirable viands; allow me to decline this further proposal for my pleasure.’ The host rejoins, ‘It is not worth the while for you to decline these poor arrows and pot; let me earnestly beg you to try them.’ The guest repeats his refusal, saying, ‘I have partaken (of your entertainment), and you would still further have me enjoy myself;—I venture firmly to decline.’ The host again addresses his request in the same words, and then the guest says, ‘I have firmly declined what you request, but you will not allow me to refuse ;—I venture respectfully to obey you.’

1 See the introductory notice, vol. xxvii, pp. 50, 51.

3 This was a small stand or tray, with the figure of a stag (or some other animal, according to the rank of the party) carved in wood and put down on it, with a tube by its side in which the tallies were to be placed.

® These are merely the customary terms of depreciation in which a Chinese speaks of his own things.

398 THE Lf xt. BK, XXXVII.

The guest then bows twice, and signifies that he will receive (the arrows). The host wheels round, saying, ‘Let me get out of the way;’ and then at the top of the steps on the east, he bows to the guest and gives him the arrows. The guest wheels round, and says, ‘Let me get out of the way’

3. (The host) having bowed, and received the arrows (for himself), advances to the space between the two pillars. He then retires, and returns to his station, motioning also to the guest to go to his mat (for pitching from).

4. The superintendent of the archery comes forward, and measures the distance of the pot (from the mats), which should be a space of the length of two and a half arrows. He then returns to his station, sets forth the stand for the tallies, and with his face to the east, takes eight counters and stands up. He asks the guest to pitch, saying, ‘When the arrow goes straight in, it is reckoned an entry. If you throw a second (without waiting for your opponent to pitch), it is not reckoned.’ The victor gives the vanquished a cup to drink; and when the cups of decision have been dispatched, the superintendent begs to set up what he calls ‘a horse’ for the victor. If he set up one horse, then a second, and finally a third, he begs to congratulate the thrower on the number of his horses. He asks’ the host to pitch in the same way, and with the same words.

5. He orders the cithern-players to strike up

If he set up one horse, then a second, and finally a third, he begs to congratulate the thrower on the number of his horses. He asks’ the host to pitch in the same way, and with the same words.

5. He orders the cithern-players to strike up

1 From this point to the end of the paragraph, it is very difficult to make out from the text the sequence of proceedings between the host and guest.

‘The pitching,’ say the K/ien-lung editors, ‘has been agreed on.’

p. 399

‘The Fox’s Head,’ with the same interval between (each repetition of the tune), and the director of the music answers, ‘ Yes.’

6. When the superintendent announces to them on the left and right that the arrows are all used up, he requests them to pitch again. When an arrow enters, he kneels, and puts down a counter. The partners of the guest are on the right, and those of the host on the left.

7. When they have done pitching, he takes up the counters, and says, ‘They have done pitching, both on the left and right; allow me to take the numbers. He then takes the numbers two by two, and leaves the single counters. After this he takes the single counters, and gives the announcement, saying, ‘Such and such a side has the better by so many doubles, or naming the number of the singles.’ If they are equal, he says, ‘Left and right are equal.’

8. He then orders the cups to be filled, saying, ‘Let the cup go round, and the cup-bearer (of the successful side) replies, ‘Yes.’ Those who have to drink all kneel, and raising their cups with both hands, say, ‘We receive what you give us to drink.’ The victors (also) kneel and say, ‘We beg respectfully to refresh you.’

g. When this cup has gone round, according to rule, (the superintendent) asks leave to exhibit the ‘horses’ (of the victorious side). Each ‘horse’ stands for so many counters. (He who has only) one ‘horse’ gives it to him who has two, to congratulate him (on his superiority). The usage in congratulating (the most successful) is to say, ‘ Your three “horses” are all here; allow me to congratulate you on their number.’ The guests and host all express their

400 THE Li xf. BK. XXXVII.

assent. The customary cup goes round, and the superintendent asks leave to remove the ‘ horses.’

10. The number of the counters varies according to the place in which they kneel (when playing the game). (Each round is with 4 arrows.) (If the game be in) the chamber, there are 5 sets of these; if in the hall, 7; if in the courtyard, 9. The counters are 1 cubit 2 inches long. The neck of the pot is 7 inches long; its belly, 5; and its mouth is 2} inches in diameter. It contains a peck and 5 pints. It is filled with small beans, to prevent the arrows from leaping out. It is distant from the mats of the players, the length of 23 arrows. The arrows are made of mulberry wood, or from the zizyphus, without the bark being removed.

It contains a peck and 5 pints. It is filled with small beans, to prevent the arrows from leaping out. It is distant from the mats of the players, the length of 23 arrows. The arrows are made of mulberry wood, or from the zizyphus, without the bark being removed.

11. In La, the young people (taking part in the game) were admonished in these words, ‘ Do not be rude; do not be haughty; do not stand awry; do not talk about irrelevant matters ; for those who stand awry, or speak about irrelevant matters, there is the regular (penal) cap.’ A similar admonition in Hsieh was to this effect:—‘ Do not be rude; do not be haughty; do not stand awry; do not speak about irrelevant matters. Those who do any of these things must pay the penalty.’

12. The superintendent of the archery, the overseer of the courtyard, and the capped officers who stood by, all belonged to the party of the guest. The musicians and the boys who acted as attendants, all belonged to the party of the host.

13. There follows after this what appears to be a representation of the progress of a game by means of small circles and squares. The circles indicating blows on a small drump. 401 called phi, and the squares, blows on the larger drum (kQ) ;—according, we may suppose, to certain events in the game. The ‘drum’ marks are followed by what are called ‘halves’ or semis. The representation is :—

Semis. Drums.
Oo oO 20 O Oo OO 0 O
oO ao OA oO oO oO OO
Oo 0.0 0 Oo Oo O

Then follows the representation of a game in LQ :—

Semis. La drums.

oO O o ao 0 0 0 o oa 0 00 0 0 o oO oO 000 0 oO O Oo oa 0 0

There is then a remark that in the Hsieh drums the semi marks were used for the game of pitch-pot, and all the marks for the archery game; and then we have :—

Semis. Hsieh drums. Semis. Lf drums.
OO oono0o0o O00 00
oo oo0aq0 ooo oa
(Ome) OO0O0°0 O00 OO
od Ooodo OO O
OO oaqoo oa oO

(28) pd

'
vi
W

BOOK XXXVIII. ZO HSING
OR

THE CONDUCT OF THE SCHOLAR".

1. Duke Ai of Lf asked Confucius, saying, ‘Is not the dress, Master, which you wear that of the scholar??? Confucius replied, ‘When I was little, I lived in LO, and wore the garment with large sleeves; when I was grown up, I lived in Sung, and was then capped with the £ang-ff cap*% I have heard that the studies of the scholar are extensive, but his dress is that of the state from which he sprang. I do not know any dress of the scholar.’

2. The duke said, ‘Allow me to ask what is the conduct of the scholar.’ Confucius replied, ‘If I were to enumerate the points in it summarily, I could not touch upon them all; if I were to go into details on each, it would take a long time. You would have changed all your attendants-in-waiting before I had concluded‘ The duke ordered a mat

1 See the introductory notice, vol. xxvii, pp. §1, 52.

You would have changed all your attendants-in-waiting before I had concluded‘ The duke ordered a mat

1 See the introductory notice, vol. xxvii, pp. §1, 52.

* Callery renders Zi here by ‘le Philosophe.’ Evidently there was in Confucius’ time a class of men, thus denominated, distinguished by their learning and conduct. The name first occurs in the Aau Lf. It is now used for the literati of China, the followers of Confucius, in distinction from TAoists and Buddhists,

> See vol. xxvii, page 438, paragraph 3. Confucius’ ancestors belonged to the state of Sung, the representative of the ancient Yin.

“ It was the custom for a ruler to change his attendants-inwaiting, so as not to overtire any.

BK. XXXVIII, zO HSING. 403

to be placed for him, and Confucius took his place by his side.

3. He then said, ‘The scholar has a precious gem placed upon its mat, with which he is waiting to receive an invitation (from some ruler)'; early and late he studies with energy, waiting to be questioned. He carries in his bosom leal-heartedness and good faith, waiting to be raised (to office); he is vigorous in all his doings, waiting to be chosen(to employment) :— so does he establish his character and prepare himself (for the future).

4. ‘The scholar’s garments and cap are all fitting and becoming; he is careful in his undertakings and doings: in declining great compliments he might seem to be rude, and in regard to small compliments, hypocritical ; in great matters he has an air of dignity, and in small matters, of modesty; he seems to have a difficulty in advancing, but retires with ease and readiness ; and he has a shrinking appearance, as if wanting in power :—such is he in his external appearance.

5. ‘ The scholar, wherever he resides, ordinarily or only for a time, is grave as if he were apprehensive of difficulties; when seated or on foot, he is courteous and respectful ; in speaking, his object is, first of all, to be sincere; in acting, he wishes to be exact and correct; on the road, he does not strive about the most difficult or easiest places; in winter and summer, he does not strive about the temperature, the light and shade ; he guards against death that he may be in waiting (for whatever he may be called to); he attends well to his person that he may be

* Compare Analects IX,12. The gem is the scholar’s virtue,— his character and capacities. pd2

404 THE xf xt. BK, XXXVIII.

ready for action:—such are his preparations and precautions for the future. _ 6, ‘The scholar does not consider gold and jade