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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Constant reference is made to the piece by Chinese moralists, to show that the most trivial things are accepted in sacrifice, when there are reverence and sincerity in the presenting of them. One critic asked AQ Hsf whether it was conceivable that the wife of a prince did herself what is here related, and he replied that the poet said so. Another has observed that if the lady ordered and employed others, it was still her own doing. But that the lady did it herself is not incredible, when we consider the simplicity of those early times, in the twelfth century B.c. She gathers the white southernwood, By the ponds, on the islets. She employs it, In the business of our prince. She gathers the white southernwood, Along the streams in the valleys. She employs it, In the temple! of our prince. 1 If the character here translated ‘temple’ had no other signification but that, there would be an end of the dispute about the meaning of the piece. But while we find it often used of the ancestral temple, it may also mean any building, especially one of a large and public character, such as a palace or mansion ; and hence some contend that it should be interpreted here of ‘the silkworm house.’ We are to conceive of the lady, after having gathered the materials for sacrificial use, then preparing them according to rule, and while it is yet dark on the morning of the sacrificial day, going with them into the temple, and setting them forth in their proper vessels and places. 432 THE SHIH KING. BOOK Il. 4. With head-dress reverently rising aloft, Early, while yet it is night, she is in the prince’s (temple). In her head-dress, slowly retiring, She returns (to her own apartments). Ope 4. Tue Zx#Ar Pin. CELEBRATING THE DILIGENCE AND REVERENCE OF THE YOUNG WIFE OF AN OFFICER, DOING HER PART IN SACRIFICIAL OFFERINGS. She gathers the large duckweed, By the banks of the stream in the southern valley. She gathers the pondweed, In those pools left by the floods. She deposits what she gathers, In her square baskets and round ones. She boils it, In her tripods and pans. She sets forth her preparations, Under the window in the ancestral chamber’. Who superintends the business ? It is (this) reverent young lady.
2She deposits what she gathers, In her square baskets and round ones. She boils it, In her tripods and pans. She sets forth her preparations, Under the window in the ancestral chamber’. Who superintends the business ? It is (this) reverent young lady. 1 «The ancestral chamber’ was a room behind the temple of the family, dedicated specially to the ancestor of the officer whose wife is the subject of the piece. The princes of states were succeeded, as a rule, by the eldest son of the wife proper. Their sons by other wives were called ‘other sons.’ The eldest son by the wife proper of one of them became the ‘great ancestor’ of the clan descended from him, and ‘the ancestral chamber’ was an apartment dedicated to him. M4§o and other interpreters, going on certain statements as to the training of daughters in the business of sacrificing in this apartment for three months previous to their marriage, contend that the lady spoken of here was not yet married, but was only undergoing this’ preparatory education. It is not necessary, however, to adopt this interpretation. The lady appears doing the same duties as the wife in the former piece. BOOK III. 4. LESSONS FROM THE STATES. 433 Book III. Tue Opes or PuHEt. Wuen king W0 overthrew the dynasty of Shang, the domain of its kings was divided into three portions, the northern portion being called Phei, the southern Yung, and the eastern Wei, the rulers of which last in course of time absorbed the other two. It is impossible to say why the old names were retained in the arrangement of the odes in this Part of the Shih, for it is acknowledged on all hands that the pieces in Books iii and iv, as well as those of Book vy, are all odes of Wei. Ove 4, Tue Zan YUEH. SUPPOSED TO BE THE COMPLAINT AND APPEAL OF KWANG XIANG, A MARCHIONESS OF WEI, AGAINST THE BAD TREATMENT SHE RECEIVED FROM HER HUSBAND. All the Chinese critics give this interpretation of the piece. A wang Xiang was a daughter of the house of XAi, about the middle of the eighth century 3.c., and was married to the marquis Yang, known in history as ‘duke Awang, of Wei. She was a lady of admirable character, and beautiful; but her husband proved faithless and unkind. In this ode she makes her subdued moan, appealing to the sun and moon, as if they could take cognizance of the way in which she was treated. Possibly, however, the addressing those bodies may simply be an instance of proso- popoeia. O sun, O moon, Which enlighten this lower earth! Here is this man, Who treats me not according to the ancient rule. How can he get his mind settled ?. Would he then not regard me? O sun, O moon, Which overshadow this lower earth! Here is this man, Who will not be friendly with me. How can he get his mind settled? Would he then not respond to me ? O sun, O moon, Which come forth from the east! Here is this man, With virtuous words, but really not good. How can he get his mind settled ? Would he then allow me to be forgotten ? [1] Ff
3How can he get his mind settled? Would he then not respond to me ? O sun, O moon, Which come forth from the east! Here is this man, With virtuous words, but really not good. How can he get his mind settled ? Would he then allow me to be forgotten ? [1] Ff 434 THE SHIH KING. BOOK IV. F O sun, O moon, From the east that come forth! O father, O mother, There is no sequel to your nourishing of me. How can he get his mind settled? Would he then respond to me contrary to all reason? Ope 15, Stanza 1. Tue Per MAn. AN OFFICER OF WEI SETS FORTH HIS HARD LOT, THROUGH DISTRESSES AND THE BURDENS LAID UPON HIM, AND HIS SILENCE UNDER IT IN SUBMISSION TO HEAVEN. I go out at the north gate, With my heart full of sorrow. Straitened am I and poor, And no one takes knowledge of my distress. So it is! Heaven has done it! ;—What then shall I say ? Book IV. Tue Opss or YuNG. See the preliminary note on p. 433. Ove 1. Tue Pai KAv. PROTEST OF A WIDOW AGAINST BEING URGED TO MARRY AGAIN, AND HER APPEAL TO HER MOTHER AND TO HEAVEN. Tuts piece, it is said, was made by Kung Xiang, the widow of Kung-po, son of the marquis Hsf of Wei (B.c. 855-814). Kungpo having died an early death, her parents (who must have been the marquis of Ai and his wife or one of the ladies of his harem) wanted to force her to a second marriage, against which she protests. The ode was preserved, no doubt, as an example of 1 The ‘Complete Digest of Comments on the Shih’ warns its readers not to take ‘Heaven’ here as synonymous with Ming, ‘what is decreed or commanded.’ The writer does not go on to define the precise idea which he understood the character to convey. This appears to be what we often mean by ‘ Providence,’ when we speak of anything permitted, rather than appointed, by the supreme ruling Power. ODE 3. LESSONS FROM THE STATES. 435 what the Chinese have always considered a great virtue,—the refusal of a widow to marry again. It floats about, that boat of cypress wood, There in the middle of the Ho. With his two tufts of hair falling over his forehead*, He was my mate; And I swear that till death I will have no other. O mother, O Heaven*, Why will you not understand me? It floats about, that boat of cypress wood, There by the side of the Ho. With his two tufts of hair falling over his forehead, He was my only one; And I swear that till death I will not do the evil thing. O mother, O Heaven, Why will you not understand me? Ope 8, Stanza 2. Tue Aiin-8z—E Aten LAo. CONTRAST BETWEEN THE BEAUTY AND SPLENDOUR OF HSUAN XIANG AND HER VICIOUSNESS. Hsiian Kiang was a princess of Ai, who, towards the close of the seventh century B.c., became wife to the marquis of Wei, known as duke Hstian. She was beautiful and unfortunate, but various things are related of her indicative of the grossest immoralities prevailing in the court of Wei. How rich and splendid Is her pheasant-figured
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1Constant reference is made to the piece by Chinese moralists, to show that the most trivial things are accepted in sacrifice, when there are reverence and sincerity in the presenting of them. One critic asked AQ Hsf whether it was conceivable that the wife of a prince did herself what is here related, and he replied that the poet said so. Another has observed that if the lady ordered and employed others, it was still her own doing. But that the lady did it herself is not incredible, when we consider the simplicity of those early times, in the twelfth century B.c. She gathers the white southernwood, By the ponds, on the islets. She employs it, In the business of our prince. She gathers the white southernwood, Along the streams in the valleys. She employs it, In the temple! of our prince. 1 If the character here translated ‘temple’ had no other signification but that, there would be an end of the dispute about the meaning of the piece. But while we find it often used of the ancestral temple, it may also mean any building, especially one of a large and public character, such as a palace or mansion ; and hence some contend that it should be interpreted here of ‘the silkworm house.’ We are to conceive of the lady, after having gathered the materials for sacrificial use, then preparing them according to rule, and while it is yet dark on the morning of the sacrificial day, going with them into the temple, and setting them forth in their proper vessels and places. 432 THE SHIH KING. BOOK Il. 4. With head-dress reverently rising aloft, Early, while yet it is night, she is in the prince’s (temple). In her head-dress, slowly retiring, She returns (to her own apartments). Ope 4. Tue Zx#Ar Pin. CELEBRATING THE DILIGENCE AND REVERENCE OF THE YOUNG WIFE OF AN OFFICER, DOING HER PART IN SACRIFICIAL OFFERINGS. She gathers the large duckweed, By the banks of the stream in the southern valley. She gathers the pondweed, In those pools left by the floods. She deposits what she gathers, In her square baskets and round ones. She boils it, In her tripods and pans. She sets forth her preparations, Under the window in the ancestral chamber’. Who superintends the business ? It is (this) reverent young lady.
2She deposits what she gathers, In her square baskets and round ones. She boils it, In her tripods and pans. She sets forth her preparations, Under the window in the ancestral chamber’. Who superintends the business ? It is (this) reverent young lady. 1 «The ancestral chamber’ was a room behind the temple of the family, dedicated specially to the ancestor of the officer whose wife is the subject of the piece. The princes of states were succeeded, as a rule, by the eldest son of the wife proper. Their sons by other wives were called ‘other sons.’ The eldest son by the wife proper of one of them became the ‘great ancestor’ of the clan descended from him, and ‘the ancestral chamber’ was an apartment dedicated to him. M4§o and other interpreters, going on certain statements as to the training of daughters in the business of sacrificing in this apartment for three months previous to their marriage, contend that the lady spoken of here was not yet married, but was only undergoing this’ preparatory education. It is not necessary, however, to adopt this interpretation. The lady appears doing the same duties as the wife in the former piece. BOOK III. 4. LESSONS FROM THE STATES. 433 Book III. Tue Opes or PuHEt. Wuen king W0 overthrew the dynasty of Shang, the domain of its kings was divided into three portions, the northern portion being called Phei, the southern Yung, and the eastern Wei, the rulers of which last in course of time absorbed the other two. It is impossible to say why the old names were retained in the arrangement of the odes in this Part of the Shih, for it is acknowledged on all hands that the pieces in Books iii and iv, as well as those of Book vy, are all odes of Wei. Ove 4, Tue Zan YUEH. SUPPOSED TO BE THE COMPLAINT AND APPEAL OF KWANG XIANG, A MARCHIONESS OF WEI, AGAINST THE BAD TREATMENT SHE RECEIVED FROM HER HUSBAND. All the Chinese critics give this interpretation of the piece. A wang Xiang was a daughter of the house of XAi, about the middle of the eighth century 3.c., and was married to the marquis Yang, known in history as ‘duke Awang, of Wei. She was a lady of admirable character, and beautiful; but her husband proved faithless and unkind. In this ode she makes her subdued moan, appealing to the sun and moon, as if they could take cognizance of the way in which she was treated. Possibly, however, the addressing those bodies may simply be an instance of proso- popoeia. O sun, O moon, Which enlighten this lower earth! Here is this man, Who treats me not according to the ancient rule. How can he get his mind settled ?. Would he then not regard me? O sun, O moon, Which overshadow this lower earth! Here is this man, Who will not be friendly with me. How can he get his mind settled? Would he then not respond to me ? O sun, O moon, Which come forth from the east! Here is this man, With virtuous words, but really not good. How can he get his mind settled ? Would he then allow me to be forgotten ? [1] Ff
3How can he get his mind settled? Would he then not respond to me ? O sun, O moon, Which come forth from the east! Here is this man, With virtuous words, but really not good. How can he get his mind settled ? Would he then allow me to be forgotten ? [1] Ff 434 THE SHIH KING. BOOK IV. F O sun, O moon, From the east that come forth! O father, O mother, There is no sequel to your nourishing of me. How can he get his mind settled? Would he then respond to me contrary to all reason? Ope 15, Stanza 1. Tue Per MAn. AN OFFICER OF WEI SETS FORTH HIS HARD LOT, THROUGH DISTRESSES AND THE BURDENS LAID UPON HIM, AND HIS SILENCE UNDER IT IN SUBMISSION TO HEAVEN. I go out at the north gate, With my heart full of sorrow. Straitened am I and poor, And no one takes knowledge of my distress. So it is! Heaven has done it! ;—What then shall I say ? Book IV. Tue Opss or YuNG. See the preliminary note on p. 433. Ove 1. Tue Pai KAv. PROTEST OF A WIDOW AGAINST BEING URGED TO MARRY AGAIN, AND HER APPEAL TO HER MOTHER AND TO HEAVEN. Tuts piece, it is said, was made by Kung Xiang, the widow of Kung-po, son of the marquis Hsf of Wei (B.c. 855-814). Kungpo having died an early death, her parents (who must have been the marquis of Ai and his wife or one of the ladies of his harem) wanted to force her to a second marriage, against which she protests. The ode was preserved, no doubt, as an example of 1 The ‘Complete Digest of Comments on the Shih’ warns its readers not to take ‘Heaven’ here as synonymous with Ming, ‘what is decreed or commanded.’ The writer does not go on to define the precise idea which he understood the character to convey. This appears to be what we often mean by ‘ Providence,’ when we speak of anything permitted, rather than appointed, by the supreme ruling Power. ODE 3. LESSONS FROM THE STATES. 435 what the Chinese have always considered a great virtue,—the refusal of a widow to marry again. It floats about, that boat of cypress wood, There in the middle of the Ho. With his two tufts of hair falling over his forehead*, He was my mate; And I swear that till death I will have no other. O mother, O Heaven*, Why will you not understand me? It floats about, that boat of cypress wood, There by the side of the Ho. With his two tufts of hair falling over his forehead, He was my only one; And I swear that till death I will not do the evil thing. O mother, O Heaven, Why will you not understand me? Ope 8, Stanza 2. Tue Aiin-8z—E Aten LAo. CONTRAST BETWEEN THE BEAUTY AND SPLENDOUR OF HSUAN XIANG AND HER VICIOUSNESS. Hsiian Kiang was a princess of Ai, who, towards the close of the seventh century B.c., became wife to the marquis of Wei, known as duke Hstian. She was beautiful and unfortunate, but various things are related of her indicative of the grossest immoralities prevailing in the court of Wei. How rich and splendid Is her pheasant-figured
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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