THE SHE KING; OR, THE BOOK OF ANCIENT POETRY
THE SHE KING; OR, THE BOOK OF ANCIENT POETRY THE SHE KING; OR, THE BOOK OF ANCIENT POETRY
, 188 TUB BOOK OP POETET. [PAET I. 3 Back to the land now fly the geese; The duke comes not again. 'Twas only for two passing nights He could with us remain. 4 Short time the single dragon robe Among us we have had. Our duke 0 take not to the west, Nor bid our hearts be sad ! VII. The Lang poh; allusive. THE PRAISE OF THE DUKE OF CHOW, MORE DISTINGUISHED THROUGH HIS TRIALS. The wolf in this piece is supposed to be an old one, in which the dew lap and tail have grown to a very large size. He is further supposed to be making frantic efforts to escape ;—all in vain, for his own dewlap and tail are in his way. 1 Dewlap o'ergrown and heavy tail Th* impatient wolf impede or trip. But see the duke, humble while tried ! Along his red shoes quiet slip. 2 Tail heavy and dew-lap o'ergrown, Th' impatient wolf trip or impede. But see the duke, humble while tried, His fame unflawed by hasty deed ! THE BOOK OF POETEY. PART II. MINOE ODES OF THE KINGDOM. BOOK I. Decade of Luh Ming. TITLE OF THE PART. This in Chinese is Seaou Ya, which I have ex pressed by " Minor odes of the Kingdom." " Odes of the Kingdom " is not, indeed, a translation of Ya; but the phrase approximates to a de scription of what the pieces in this and the next Part are more nearly than any other I could think of. Ya is explained as meaning—Correct; and Lacharme translates the title by " Parmtm Rectum" adding—"guiain hac parte meres describuntur, recti illi qiAHem, gni tamen nonnlMl a recto deflectunt." But the pieces in this Part, as descriptive of manners, are not less correct, or less incorrect, as the case may be, than those in the next. The difference between them is—that the pieces in Part III. were appropriate to greater occasions, and those of Part II. to lesser. The former, as Choo He says, were sung at festal entertainments in the court; the latter, at gatherings of the feudal princes, and at their appearances at the royal court. The names "small" and "great," "major" and "minor," may have had reference also to the length of the pieces taken as a whole, and to the style of the music to which they were sung, which is now lost; but we shall find that in the subject matter of tlie pieces there is a sufficient ground for such a distinction. As the Fling, or the compositions in the first Part, were produced in the different feudal States, the Ya were produced in the royal territory. The first twenty-two pieces of this Part are attributed, indeed, to the duke of Chow himself, and are distinguished from those that follow, as the odes of " Chow and the South " and of " Shaou and the South " are distinguished from those in the other Books of Part I. As there were " the correct Fang " and the " Fung degenerate," so there are the " correct Ya " and the " degener ate Ya; " but as I have observed in the prolegomena, this distinction is of no importance. It was proper to sing the Ya only on great and solemn occasions at the royal court; in course of time they were used at the feudal courts, and even by ministers of these, as in the services of the Ke family in Loo, in the time of Confucius (Ana. III. ii.) ; but this was a usurpation, a consequence of the decay into which the House of Chow fell.
\\ 190 THE BOOK OP POETRY. [PART II. BK I. ii.] THE BOOK OP POETET. 191 TITLE OF THE BOOK.—" The decade of Luh Ming." The pieces of Tart I. are all arranged under the names of the States to which they be longed. In Parts II. and III., however, they are collected in tens, and classified under the name of the first piece in each Collection. The only exception in respect to the number, is the third Book of Part III.—It will not be necessary after this to say anything on the names of the different Books. I. The Zuk Ming; allusive. A FESTAL ODE, SANG AT ENTERTAINMENTS TO THE KING'S MINISTERS, AND GUESTS FBOM THE FEUDAL STATES. In the piece we read of guests merely, and not of ministers or officers. But the ministers and high officers would become the king's guests, when feasted as the piece describes. It is referred, though not by Choo, to the time of king Wan. 1 With sounds of happiness the deer Browse on the celery of the meads. A nobler feast is furnished here, With guests renowned for noble deeds. The lutes are struck ; the organ, blows. Till all its tongues in movement heave. Each basket loaded stands, and shows The precious gifts the guests receive. They love me, and my mind will teach, How duty's highest aim to reach. 2 With sounds of happiness the deer The southernwood crop in the meads. What noble guests surround me here, Distinguished for their worthy deeds ! From them my people learn to fly Whatever is mean ; to chiefs they give A model and a pat-tern high ;— They show the life they ought to live. Then fill their cups with spirits rare, Till each the banquet's joy shall share. 3 With sounds of happiness the deer The salsola crop in the fields. What noble guests surround me-hcre ! Each lute for them its music yields. Sound, sound the lutes, or great or small, The joy harmonious to prolong ; And with my spirits rich crown all The cups to cheer the festive throng. Let each retire with gladdened heart, In his own sphere to play his part. II. The &e mom; narrative and allusive. A FESTAL ODE, COMPLIMENT ARY TO AN OFFICER ON HIS RETURN FROM AN EXPEDITION, CELE BRATING THE UNION IN HIM OF LOYAL DUTY AND FILIAL FEELING. There is nothing in the ode itself to suggest its being composed for a festal occasion, and to compliment the officer who narrates his story in it. Both Maou and Choo, however, agree ill the above account of it. It was not written, they say, by the officer himself, hut was put into his mouth, as it were, to express the sympathy of his entertainer with him, and the appreciation of his devotion to duty. There appear strikingly in it the union of family affections and loyal duty, which we met with in several of the pieces in Part I. ; and the merit of king Wan, to whose times it is assigned, shines out in the allowance which he makes for those affections. 1 On dashed my four steeds, without halt, without stay, Though toilsome and winding from Chow was the way. I wished to return,—but the monarch's command Forbade that his business be done with slack hand; And my heart was with sadness oppressed. 2 On dashed my four steeds; I ne'er slackened the reins. They snorted and panted,—all white, with black manes. I wished to return, but our sovereign's command Forbade that his business be done with slack hand; And I dared not to pause or to rest. 3 Unresting the Filial doves speed tu their flight, Ascending, then sweeping swift down from the height, Now grouped on the oaks. The king's high command Forbade that his business be done with slack hand;— And my father I left, sore distressed. 4 Unresting the Filial doves speed in their flight, Now fanning the air, and anon they alight On the medlars thick grouped. But our monarch's command Forbade that his business be done with slack hand;— Of my mother I thought with sad breast.
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190 <strong>THE</strong> <strong>BOOK</strong> OP <strong>POETRY</strong>. [PART II. BK I. ii.] <strong>THE</strong> <strong>BOOK</strong> OP POETET. 191<br />
TITLE <strong>OF</strong> <strong>THE</strong> <strong>BOOK</strong>.—" The decade of Luh Ming." The pieces of<br />
Tart I. are all arranged under the names of the States to which they be<br />
longed. In Parts II. and III., however, they are collected in tens, and<br />
classified under the name of the first piece in each Collection. The only<br />
exception in respect to the number, is the third Book of Part III.—It will<br />
not be necessary after this to say anything on the names of the different<br />
Books.<br />
I.<br />
The Zuk Ming; allusive. A FESTAL ODE, SANG AT ENTERTAINMENTS<br />
TO <strong>THE</strong> <strong>KING</strong>'S MINISTERS, AND GUESTS FBOM <strong>THE</strong> FEUDAL STATES.<br />
In the piece we read of guests merely, and not of ministers or officers.<br />
But the ministers and high officers would become the king's guests, when<br />
feasted as the piece describes. It is referred, though not by Choo, to the<br />
time of king Wan.<br />
1 With sounds of happiness the deer<br />
Browse on the celery of the meads.<br />
A nobler feast is furnished here,<br />
With guests renowned for noble deeds.<br />
The lutes are struck ; the organ, blows.<br />
Till all its tongues in movement heave.<br />
Each basket loaded stands, and shows<br />
The precious gifts the guests receive.<br />
They love me, and my mind will teach,<br />
How duty's highest aim to reach.<br />
2 With sounds of happiness the deer<br />
The southernwood crop in the meads.<br />
What noble guests surround me here,<br />
Distinguished for their worthy deeds !<br />
From them my people learn to fly<br />
Whatever is mean ; to chiefs they give<br />
A model and a pat-tern high ;—<br />
They show the life they ought to live.<br />
Then fill their cups with spirits rare,<br />
Till each the banquet's joy shall share.<br />
3 With sounds of happiness the deer<br />
The salsola crop in the fields.<br />
What noble guests surround me-hcre !<br />
Each lute for them its music yields.<br />
Sound, sound the lutes, or great or small,<br />
The joy harmonious to prolong ;<br />
And with my spirits rich crown all<br />
The cups to cheer the festive throng.<br />
Let each retire with gladdened heart,<br />
In his own sphere to play his part.<br />
II.<br />
The &e mom; narrative and allusive. A FESTAL ODE, COMPLIMENT<br />
ARY TO AN <strong>OF</strong>FICER ON HIS RETURN FROM AN EXPEDITION, CELE<br />
BRATING <strong>THE</strong> UNION IN HIM <strong>OF</strong> LOYAL DUTY AND FILIAL FEELING.<br />
There is nothing in the ode itself to suggest its being composed for a<br />
festal occasion, and to compliment the officer who narrates his story in<br />
it. Both Maou and Choo, however, agree ill the above account of it.<br />
It was not written, they say, by the officer himself, hut was put into his<br />
mouth, as it were, to express the sympathy of his entertainer with him, and<br />
the appreciation of his devotion to duty. There appear strikingly in it<br />
the union of family affections and loyal duty, which we met with in<br />
several of the pieces in Part I. ; and the merit of king Wan, to whose<br />
times it is assigned, shines out in the allowance which he makes for those<br />
affections.<br />
1 On dashed my four steeds, without halt, without stay,<br />
Though toilsome and winding from Chow was the way.<br />
I wished to return,—but the monarch's command<br />
Forbade that his business be done with slack hand;<br />
And my heart was with sadness oppressed.<br />
2 On dashed my four steeds; I ne'er slackened the reins.<br />
They snorted and panted,—all white, with black manes.<br />
I wished to return, but our sovereign's command<br />
Forbade that his business be done with slack hand;<br />
And I dared not to pause or to rest.<br />
3 Unresting the Filial doves speed tu their flight,<br />
Ascending, then sweeping swift down from the height,<br />
Now grouped on the oaks. The king's high command<br />
Forbade that his business be done with slack hand;—<br />
And my father I left, sore distressed.<br />
4 Unresting the Filial doves speed in their flight,<br />
Now fanning the air, and anon they alight<br />
On the medlars thick grouped. But our monarch's<br />
command<br />
Forbade that his business be done with slack hand;—<br />
Of my mother I thought with sad breast.