The writer made much use of the chapters on
marriage
in the Î Lî.
Confucius - Book of Rites
D.
502-549) of the Liang dynasty.
Later on, under the Sung dynasty, the Kung Yung, the Tâ Hsio, or 'Great Learning,' which is also a portion of the Lî Kî, the Confucian Analects, or the Lun Yü, and the works of Mencius, were classed together as 'The Four Books,' which have since that time formed so important a division of Chinese literature; and ' the Kung Yung, in chapters and sentences, with a digest of commentaries on it,' was published by Kû Hsî early in A. D. 1189. About 125 years afterwards, the fourth emperor of the Yüan dynasty enacted that Kû's edition and views should be the text-book of the classic at the literary examinations. From that time merely the name of the Kung Yung was retained in editions of the Lî Kî, until the appearance of the Imperial edition of the whole collection in the Khien-lung period of the present dynasty. There the text is given in two Sections according to the old division of it, with the ancient commentaries from the edition of 'The Thirteen King' of the Thang dynasty, followed at the end of each paragraph by the Commentary of Kû.
The authorship of the Kung Yung is ascribed to Khung Kî, better known as Dze-sze, the grandson of Confucius. There is no statement to this effect, indeed, in the work itself; but the tradition need not be called in question. It certainly existed in the Khung family. The Book must have been written in the fifth century B. C. , some time, I suppose, between 450 and 400. Since A. D. 1267, the author has had a place in the temples of Confucius as one of 'The Four Assessors,' with the title of 'The Philosopher Dze-sze, transmitter of the Sage. ' I have seen his tomb-mound in the Confucian cemetery, outside the city of Khü-fû in Shantung, in front of those of his father and grandfather. There is a statue of him on it, bearing the inscription, 'Duke (or Prince) of the State of Î. '
It is not easy to translate the name of the Treatise, Kung Yung. It has been represented by 'Juste Milieu;' 'Medium Constans vel Sempiternurn;' 'L'Invariable Milieu;' 'The Constant Medium. ' 'The Golden Medium;' 'The True Medium,' and otherwise. I called it, in 1861, 'The Doctrine of the Mean,' which I have now changed for 'The State of Equilibrium and Harmony,' the reasons for which will be found in the notes on the first chapter of the present version.
I do not here enter on an exhibition of the scope and value of the Book. It gives the best account that we have of the Confucian philosophy and morals, and will amply repay careful study, and hold its place not only in China, but in the wider sphere beyond it. The writer had an exaggerated conception of the sage; but he deserves well of his own country and of the world.
BOOK XXIX. PIÂO KÎ.
The character called Piâo is the symbol for the outer garments, and is used to indicate whatever is external in opposition to what is internal; the outside of things, what serves to mark them out and call attention to them. Hence comes its use in the sense which it bears in the title of this Book, for what serves as an exàmple or model. Callery renders that title by 'Mémoire sur l'Exemple;' Wylie, by 'The Exemplar Record. '
Piâo is also used for the gnomon of a dial; and the Khien-lung editors fix on this application of the character in explaining the name of the Book. 'Piâo,' they say, 'is the gnomon of a dial, by which the movement of the sun is measured; it rises up in the Centre, and all round is regulated by it. The Fang Kî shows men what they ought to be on their guard against; the Piâo Kî, what they should take as their pattern. ' Then they add--'Of patterns there is none so honourable as benevolence (or humanity proper), and to aid that there is righteousness, while, to complete it, there is sincerity or good faith, and reverence is that by which the quest for humanity is pursued. ' This second sentence may be considered a summary of the contents of the Book, which they conclude by saying, they have divided into eight chapters after the example of the scholar Hwang; meaning, I suppose, Hwang Khan, who has been already mentioned as having published his work on our classic in A. D. 538.
That division into eight chapters lies on the face of the Treatise. We have eight paragraphs commencing with the characters which I have rendered by 'These were the words of the Master;' and these are followed by a number of others, more or fewer as the case may be, in which the words of the Master ('The Master said') are adduced to substantiate what has been stated in that introductory passage. The arrangement is uniform, excepting in one instance to which I have called attention in a note, and suitably divides the whole into eight chapters.
But no one supposes that 'the words of the Master' are really those of Confucius, or were used by him in the connexion which is here given to them. They were invented by the author of the Treatise, or applied by him, to suit his own purpose; and scholars object to many of them as contrary to the sentiments of the sage, and betraying a tendency to the views of Tâoism. This appears, most strikingly perhaps, in the fifth chapter. On the statement, for instance', in paragraph 32, that the methods of Yin and Kâu were not equal to the correction of the errors produced by those of Shun and Hsîa, the Khien-lung editors say:--'How could these words have come from the mouth of the Master? The disciples of Lâo-dze despised forms and prized the unadorned simplicity, commended what was ancient, and condemned all that was of their own time. In the beginning of the Han dynasty, the principles of Hwang and Lâo were widely circulated; students lost themselves in the stream of what they heard, could not decide upon its erroneousness, and ascribed it to the Master. Such cases were numerous, and even in several paragraphs of the Lî Yun (Book VII) we seem to have some of them. What we find there was the utterance, probably, of some disciple of Lâo-dze. '
No one, so far as I have noticed, has ventured to assign the authorship of this Book on example. I would identify him, myself, with the Kung-sun Nî-dze, to whom the next is ascribed.
BOOK XXX. DZE Î
It is a disappointment to the reader, when he finds after reading the title of this Book, that it has nothing to do with the Black Robes of which he expects it to be an account. That phrase occurs in the second paragraph, in a note to which its origin is explained; but the other name Hsiang Po, which is found in the same paragraph, might with equal appropriateness, or rather inappropriateness, have been adopted for the Treatise.
It is really of the same nature as the preceding, and contains twenty-four paragraphs, all attributed to 'the Master,' and each of which may be considered to afford a pattern for rulers and their people. It ought to form one Book with XXIX under the title of 'Pattern Lessons. ' I have pointed out in the notes some instances of the agreement in their style and phraseology, and the intelligent reader who consults the translation with reference to the Chinese text will discover more. Lû Teh-ming (early in the Thang dynasty) tells us, on the authority of Liû Hsien, that the Dze Î was made by a Kung-sun Ni-dze. Liû Hsien was a distinguished scholar of the early Sung dynasty, and died about A. D. 500; but on what evidence he assigned the authorship of the Book to Kung-sun Ni-dze does not, in the present state of our knowledge, appear. The name of that individual is found twice in Liû Hsin's Catalogue, as belonging to the learned school, and among 'the Miscellaneous writers,' with a note that he was 'a disciple of the seventy disciples of the Master. ' The first entry about him precedes that about Mencius, so that he must be referred to the closing period of the Kâu dynasty, the third century B. C. He may, therefore, have been the author of 'The Black Robes,' and of the preceding Book as well, giving his own views, but attributing them, after the fashion of the time, to Confucius; but, as the commentator Fang Î (? Ming dynasty) observes:--'Many passages in the Book are made to resemble the sayings of a sage; but the style is not good and the meaning is inferior. '
BOOK XXXI. PAN SANG.
This Book refers to a special case in connexion with the mourning rites, that of an individual who has been prevented, from taking part with the other relatives in the usual observances at the proper time. It might be that he was absent from the state, charged by his ruler with public business, or he might be in the same state but at a distance, and so occupied that he had been unable to take part in the mourning services.
But they were too sacred to be entirely neglected, and we have here the rules applicable to such a case, in a variety of circumstances and different degrees of consanguinity. Some other matter, more or less analogous, is introduced towards the end.
We have seen how the first of the 'Three Rituals' recovered in the Han dynasty was seventeen Books that now form the Î Lî. Kang Hsüan supposed that the Pan Sang had been another Book of that collection, and was afterwards obtained from the tablets found in the village of Yen-kung in Lû. It has been decided, however, that the style determines it to be from another hand than the Î Lî.
Here it is, and we have only to make the best of it that we can, without knowing who wrote it or when it came to light. The Khien-lung editors say :--'Anciently, in cases of mourning for a year or shorter period even, officers left their charges and hurried to the rites. In consequence of the inconvenience arising. from this, it was enacted that officers should leave their charge only on the death of a parent. It was found difficult, however, to enforce this. The rule is that a charge cannot be left, without leave asked and obtained. '
BOOK XXXII. WAN SANG.
The Wan Sang, or 'Questions about Mourning Rites,' is a short Treatise, which derives its name from inquiries about the dressing of the corpse, the putting off the cap and replacing it by the cincture, and the use of the staff in mourning. Along with those inquiries there are accounts of some of the rites, condensed and imperfect. The Book should be read in connexion with the other Books of a similar character, especially XIII.
Much cannot be said in favour of the style, or of the satisfactoriness of the replies to the questions that arc propounded. The principal idea indeed in the mind of the author, whoever he was, was that the rites were the outcome of the natural feelings of men, and that mourning was a manifestation of filial piety. The most remarkable passage is that with which the Treatise concludes, that the use of the staff was not to be sought in any revelation from heaven or earth, but was simply from the good son's filial affection. The way in which the sentiment is expressed has often brought to my mind the question of the Apostle Paul about faith, in Romans x. 6-8.
BOOK XXXIII. FÛ WAN.
Like the last two Books and the two that follow, the Fû Wan is omitted in the expurgated editions. It is still shorter than the Wan Sang, and treats also of the mourning rites, and specially of the dress in it, and changes in it, which naturally gave rise to questioning.
The writer, or compiler, often quotes from what he calls the Kwan, a name which has sometimes been translated by 'Tradition. ' But the Chinese term, standing alone, may mean what is transmitted by writings, as well as what is handed down by oral communication. It is used several times in Mencius in the sense of 'Record' and 'Records. ' I have called it here 'The Directory of Mourning. ' Wû Khang says rightly that the Book is of the same character as XIII; that the mourning rites were so many, and some of them so peculiar, that collisions between different rites must have been of frequent occurrence. The Fû Wan takes up several such cases and tells us how they were met satisfactorily, or, as we may think, unsatisfactorily.
BOOK XXXIV. KIEN KWAN.
The Kien Kwan is a Treatise on subsidiary points in the mourning rites, It is not easy to render the name happily in English. I have met with it as 'The Intermediate Record. ' Kwan is the character spoken of in the preceding notice; Kien is the symbol for the space between two things, suggesting the idea of distinction or difference. Kang Hsüan says that 'the name has reference to the distinctions suitably made in mourning, according as it was lighter or more important. '
However we translate or explain the name, we find the Book occupied with the manifestations of grief in the bearing of the mourners; in the modulation of their voices; in their eating and drinking; in their places; in the texture of their dress; and in the various changes which were made in it till it was finally put off. Some points in it are difficult to understand at this distance of time, and while we are still imperfectly acquainted with the mourning usages of the people at the present day.
BOOK XXXV. SAN NIEN WAN.
The 'Questions about the Mourning for three years' is occupied principally with the mourning for parents for that period, but it touches on all the other periods of mourning as well, explaining why one period differs in its duration from the others.
Mourning, it is said, is the outcome of the relative feeling proper to man; the materials of the dress, the duration of the rites, and other forms are from the ancient sages and legislators, to regulate and direct the expression of the feeling.
What is said in paragraph 4 about the mourning of birds and beasts is interesting, but fantastical. Though the mourning for a parent is said to last for three years, the western reader is not to suppose that it continues to the end of that time, but simply that it extends into the third year. Virtually it terminates with the twenty-fifth month, and positively with the twenty-seventh. It is the eastern mode in speaking of time to say that it lasts for three years. Similarly, I have often been told that a child, evidently not more than six months, was two years old, when a little cross-questioning has brought out the fact that it had been born towards the end of the previous year, that it had. lived in two years, and was, therefore, spoken of as two years old.
BOOK XXXVI. SHAN Î.
The Shan Î is what we should expect from the name, a description of the dress so-called. It was the garment of undress, worn by all classes of the people, from the highest to the lowest, when they were at home and at ease. What distinguished it from other dresses was that in those the jacket or upper garment was in one piece, and the skirt or lower garment in another, whereas in this they were joined together, so that it could be put on and off with ease.
In the Khien-lung edition of the Lî Kî, chapter 29, second collection of Plates, there are pictures of the Shan Î, taken from Kû Hsî's 'Rules for the Family,' but they do not correspond with the description here. More accurate plates are to be found in a monograph on the subject by Yung Kiang, a senior licentiate of the present dynasty, which forms the 251st chapter in the 'Explanations of the Classics under the Imperial dynasty of Khing. ' The proper meaning of Shan Î is 'The Deep Dress;' but the garment was also called 'The Long Dress,' which suits our nomenclature better; and 'The Inner Dress,' when it was worn under another.
The reasons assigned for fashioning it after the description in paragraphs 3 and 4 are of course fanciful; but M. Callery is too severe on the unknown author, when he says:-'On est tenté de rire en voyant les rapprochements que Pauteur cherche à établir entre la forme de cet habit et les principes les plus abstraits de la morale. Je suis porté à croire que toutes ces allegories ont été imaginées après coup; car si elles avaient dirigé la coupe primitive du Shan Î, il faudrait dire que les ateliers des anciens tailleurs de la Chine étaient des écoles de mysticisme. '
BOOK XXXVII. THÂU HO.
The Thâu Hû, or 'Pitching into a jar,' gives the description of a game, played anciently, and probably at the present day also, at festal entertainments. It was a kind of archery, with darts instead of arrows, and the hand instead of a bow; 'the smallest,' as Kang says, 'of all the games of archery,' and yet lessons for the practice of virtue and for judging of character might be learned from it. It is interesting to us, however, simply as a game for amusement, and a sufficient idea of it may be gained from this Book.
Two might play at it, or any number. The host and guest in the text are the representatives of two sides or parties. It was a contest at pitching darts into the mouth of a pot or vase, placed at a short distance from the players,--too short a distance, it appears to us. There was nothing peculiar in the form of the vase of which we have an account in paragraph 10. We are surprised to read the description of it in the late Dr. Williams' Syllabic Dictionary, under the character for Hû:--'One ancient kind (of vase) was made with tubes on each side of the mouth, and a common game, called Thâu Hû, was to pitch reeds into the three orifices. ' This would have been a different jar, and the game would have been different from that here described, and more difficult.
The style of the Treatise is like that of the Î Lî, in the account of the contests of archery in Books VIII-XI, to which we have to refer to make out the meaning of several of the phrases.
The Book should end with paragraph 10. The three paragraphs that follow seem to have been jotted down by the compiler from some memoranda that he found, that nothing might be lost which would throw light on the game.
Then follows a paragraph, which may be pronounced unintelligible. The whole Book is excluded from the expurgated editions.
BOOK XXXVIII. ZÛ HSING.
The Zû Hsing, or 'Conduct of the Scholar,' professes to be a discourse delivered to duke Âi of Lû on the character and style of life by which scholars, or men claiming to possess literary acquirements, ought to be, and were in a measure, distinguished. Even so far back, such a class of men there was in China. They had certain peculiarities of dress, some of which are alluded to in Odes of the Shih. The duke, however, had not been accustomed to think highly of them; and struck by something in the dress of Confucius, he asks him if he wore the garb of a scholar. The sage disclaims this; and being questioned further as to the conduct of the scholar, he proceeds to dilate on that at great length, and with a remarkable magnificence of thought and diction. He pourtrayed to his ruler a man sans peur et sans reproche, strong in principle, of cultivated intelligence, and animated by the most generous, patriotic, and benevolent spirit. We are told in the conclusion that the effect on duke Âi was good and great. It made him a better man, and also made him think more highly of the class of scholars than he had done. The effect of the Book on many of the literati must have been great in the ages that have intervened, and must still be so.
But did such a conversation really take place between the marquis of Lû and the sage? The general opinion of' Chinese scholars is that it did not do so. Lü Tâ-lin (of the eleventh century, and a contemporary of the brothers Khang), as quoted by the Khien-lung editors, while cordially approving the sentiments, thinks the style too grandiloquent to allow of our ascribing it to Confucius. Another commentator of the Sung period, one of the Lîs[1], holds that the language is that of some ambitious scholar of the period of the Warring States, who wished. to stir up the members of his order to a style of action worthy of it. P. Callery appends to his translation the following note:--'In general, the maxims of this chapter are sufficiently profound to justify us in ascribing them to Confucius, in preference to so many other passages which the author of this work places to the credit of the great philosopher. We find nevertheless in it some ideas of which the really authentic works of Confucius do not offer any trace. '
BOOK XXXIX. TÂ HSIO.
Like the Kung Yung (XXVIII), the Tâ Hsio has long been published separately from the other Books of the Lî Kî, and is now. the first of the well-known 'Four Books. ' As it appears in this translation, we follow the arrangement of the text given by the Khien-lung editors from that in the Thirteen King published by Khung Ying-tâ, who himself simply followed King Hsüan. Early in the Sung dynasty the brothers Khang occupied themselves with the Treatise; and thinking that errors had crept into the order of the paragraphs, and that portions were missing, made various alterations and additions. Kû Hsî entered into their labours, and, as he thought, improved on them. It is now current in the Four Books, as he published it in 1189, and the difference between his arrangement and the oldest one may be seen by comparing the translation in the first volume of my Chinese Classics and that in the present publication.
Despite the difference of arrangement, the substance of the work is the same.
There can be no doubt that the Tâ Hsio is a genuine monument of the Confucian teaching, and gives us a sufficient idea of the methods and subjects in the great or higher schools of antiquity. The enthusiasm of M. Pauthier is not to be blamed when he says:--'It is evident that the aim of the Chinese philosopher is to exhibit the duties of political government as the perfecting of self and the practice of virtue by all men. '
Pauthier adopts fully the view of Kû, that the first chapter is a genuine relic of Confucius himself, for which view there really is no evidence. And he thinks also that all that follows should be attributed to the disciple, Zang-dze, which is contrary to the evidence which the Treatise itself supplies.
If it were necessary to assign an author for the work, I should adopt the opinion of Kiâ Kwei (A. D. 30-101), and assign it to Khung Kî, the grandson of Confucius, and author of the Kung Yung. 'When Khung Kî,' said Kiâ, 'was still alive, and in straits, in Sung, being afraid that the lessons of the former sage (or sages) would become obscure, and the principles of the ancient Tîs and Kings fall to the ground, he made the Tâ Hsio, as the warp of them, and the Kung Yung as the woof. ' This would seem to have been the opinion of scholars in that early time, and the only difficulty in admitting it is that Kang Hsüan does not mention it. Notwithstanding his silence, the conviction that Khung Ki wrote both treatises has become very strong in my mind. There is that agreement in the matter, method, and style of the two, which almost demands for them a common authorship.
BOOK XL. KWAN Î
A fuller account of the ceremony of capping is obtained from portions of the ninth and other Books, where it comes in only incidentally, than from this Book in which we might expect from the title to find all the details of it brought together. But the object of the unknown writer was to glorify the rite as the great occasion when a youth stepped from his immaturity into all the privileges and responsibilities of a man, and to explain some of the usages by which it had been sought from the earliest times to mark its importance. This intention is indicated by the second character in the title called Î, which we have met with only once before in the name of a Book,-in Kî Î, 'the Meaning of Sacrifices,' the title of XXI. It is employed in the titles of this and the five Books that follow, and always with the same force of 'meaning,' 'signification,' 'ideas underlying the ceremony. ' Callery renders correctly Kwan Î by 'Signification de la Prise du Chapeau Viril. '
The Chinese cap of manhood always suggests the toga virilis of the Romans; but there was a difference between the institutions of the two peoples. The age for assuming the toga was fourteen; that for receiving the cap was twenty. The capped Chinese was still young, but he had grown to man's estate; the gowned Roman might have reached puberty, but he was little more than a boy.
Until the student fully understands the object of the Treatise, the paragraphs seem intricate and heavy, and the work of translation is difficult.
BOOK XLI. HWAN Î.
After capping comes in natural order the ceremony of marriage; and we are glad to have, in the first portion of this Book, so full an account of the objects contemplated in marriage, the way in which the ceremony was gone about, and the subsequent proceedings by which the union was declared to be established.
The writer made much use of the chapters on marriage in the Î Lî. Nothing is said of the age at which it was the rule for a young man to marry; and this, we have seen, is put down, in other parts of this collection, as thirty. The same age is mentioned in the Kâu Lî, XIII, 55, on the duties of the marriage-contractor. But marriage, we may assume from the case of Confucius himself, actually took place earlier in ancient times, as it does now. The Dze[1], or name of maturity, which was given at the capping, is commonly said to be the name taken at marriage, as in Morrison's Dictionary, I, i, page 627.
The duties set forth in the Book, however, are not those of the young husband, but those of the wife, all comprised in the general virtue of 'obedience. ' After the tenth paragraph, the author leaves the subject of marriage, and speaks of the different establishments of the king and queen and of their functions. So far what is said on these topics bears on marriage as it sets forth, mystically, that union as analogous to the relations of heaven and earth, the sun and moon, and the masculine and feminine energies of nature; and the response made by these to the conduct of the human parties in their wedded union.
BOOK XLII. HSIANG YIN KIÛ Î
Hsiang was anciently the name for the largest territorial division of the state. Under the dominion of Kâu, from the hamlet of five families, through the lü, the zû, the tang, and the kâu, we rise to the hsiang, nominally containing 12,000 families, and presided over by a 'Great officer. ' The royal domain contained six hsiang, and a feudal state three.
In more than one of these territorial divisions, there were festive meetings at regular intervals, all said to be for the purpose of 'drinking. ' There was feasting at them too, but the viands bore a small proportion to the liquor, called by the name of Kiû, which has generally been translated wine, though the grape had nothing to do with it, and whether it was distilled or merely fermented is a disputed point.
The festivity described in this Book was at the true Hsiang meeting, celebrated once in three years, under the superintendence of 'the Great officer' himself, when, in the, principal school or college of the district, he assembled the gentlemen of accomplishments and virtue, and feasted them. His object was to select, especially from among the young men, those who were most likely to prove useful to the government in various departments of service. There was in the celebration the germ of the competitive examinations which have been for so long a characteristic feature of the Chinese nation.
The writer had before him the sixth and seventh Books of the Î Lî on the same subject, or their equivalents. He brings out five things accomplished by the ceremony, all of a moral and social nature; but in trying to explain the arrangements, he becomes allegorical or mystical, and sometimes absurd.
BOOK XLIII. SHÊ Î
There were various games or competitions of archery; at the royal court, at the feudal courts, at the meetings in the country districts which form the subject of the last Book, and probably others of a less public and distinguished character. We have references in this Book to at least one of the archery trials at the royal court; to that at the feudal courts; and to one presided over by Confucius himself, of which it is difficult to assign the occasion. The object of the author is to show the attention paid to archery in ancient times, and how it was endeavoured to make it subservient to moral and educational purposes.
He had before him the accounts of the archery for officers in Books VIII, IX, and X of the Î Lî; but he allows himself more scope, in his observations on them, than the authors of the two preceding Books, and explains several practices in his own way,--unsatisfactorily, as I have pointed out in my notes.
BOOK XLIV. YEN Î
The Yen Î, or 'Meaning of the Banquet,' is a fragment of only five paragraphs, which, moreover, are inartistically put together, the first having no connexion with the others. The Book should begin with paragraph 2, commencing: 'The meaning of the Banquet at the feudal courts was this. ' It was of this banquet that the compiler intended to give his readers an idea.
The greatest of all the ancient banquets was that which immediately followed the sacrifices in the ancestral temple, given to all the kindred of the same surname as the ruler, and to which there are several references in the Shih King. Thang San-zhâi (Ming dynasty) specifies four other occasions for the banquet besides this:--It, might be given by a feudal prince, without any special occasion,--like that described in the second of the Praise Songs of Lû; or to a high dignitary or Great officer, who had been engaged in the royal service,--like that in the Minor Odes of the Kingdom, iii, 3; or when a high dignitary returned from a friendly mission,--like that also in the Minor Odes, i, 2; or when an officer came from one state to another on a friendly mission. Many other occasions, however, can be imagined on which public banquets were appropriate and might be given. The usages at them would, for the most part, be of the same nature.
The eleventh and twelfth chapters of the Î Lî are occupied with the ceremony of the banquet. The author of this Treatise quotes passages here and there from them, and appends his own explanation of their educational significance. Two lessons, be says, were especially illustrated in them:--the right relations to be maintained between superiors and inferiors, and the distinction between the noble and the mean.
BOOK XLV. PHING Î
The subject of the Phing Î is the interchange of missions between the ancient feudal states. It was a rule of the kingdom that those states should by such interchange maintain a good understanding with one another, as a means of preventing both internal disturbances and aggression from without. P. Callery gives for the title:--'Signification (du Rite) des Visites. ' I have met with it rendered in English by 'The Theory of Embassies;' but the Phing was not an embassy on any great state occasion, nor was it requisite that it should be sent at stated intervals. It could not be long neglected between two states without risk to the good fellowship between them, but events might at any time occur in any one state which would call forth such an expression of friendly sympathy from others.
A mission occasioned a very considerable expenditure to the receiving state, and the author, with amusing ingenuity, explains this as a device to teach the princes and their peoples 'to care little for such outlay in comparison with the maintenance of the custom and its ceremonies.
Those visits are treated with all the necessary details in the Î Lî, Books XV-XVIII; and though the extracts from them are not many, we get from the author a sufficiently intelligible account of the nature of the missions and the way in which they were carried through.
In paragraph 11, however, be turns to another subject, and writes at some length about archery, while the concluding paragraphs (12 and 13) give a conversation between Confucius and his disciple Dze-kung on the reasons why jade is thought so much of. The three paragraphs have no connexion with those that precede on the subject of the missions; and the question arises-Whence were they derived? The previous paragraphs, taken from or based on the Î Lî, are found in one of the surviving Treatises of the larger collection of the Greater Tâi, the thirty-sixth Book, called Khâo-sze, in consequence of which the Khien-lung editors suggest that these concluding paragraphs were an addition made by his relative, Tâi Shang. It may have been so, but we should not thereby be impressed with a high idea of the skill or judgment with which Shang executed his work.
BOOK XLVI. SANG FÛ SZE KIH.
This Book, with which the collection of the Lî Kî concludes, is an attempt to explain the usages of the mourning rites, and especially of the dress, wherein they agree, and wherein they differ, by referring them to the four constituents of man's nature,--love, righteousness, the sentiment of propriety, and knowledge, in harmony with the operations of heaven and earth in the course of nature. We do not know who was the author of it, but the Khien-lung editors contend that it could not have been in the original compilation of the Smaller Tâi, and owes its place in the collection to Kang Hsüan.
The greater part of it is found in the thirty-ninth, or last but one[1], of the Books still current as the Lî of the Greater Tâi; and another part in the 'Narratives of the School,' the third article in the sixth chapter of that Collection[2], the compilation of which in its present form is attributed to Wang Sû in the first half of our third century. But this second fragment must have existed previously, else Kang
[1. ###.
2. ###. ]
himself could not have seen it. The argument of those editors, therefore, that some scholar, later than the Smaller Tâi, must have incorporated it with what we find in the Greater Tâi, adding a beginning and ending of his own, so as to form a Book like one of those of Tâi Shang, and that Kang thought it worth his while to preserve it as the last portion of Shang's collection,--this argument is inconclusive. The fragment may originally have formed part of Tâi Teh's thirty-ninth Book or of some other, and the whole of this Book have been arranged, as we now have it by Shang himself, working, as he is reported to have done, on the compilation or digest of his cousin. However this be, the views in the Book are certainly ingenious and deserve to be read with care.
A few lines in Callery's work are sufficient to translate all of the Book which is admitted into the expurgated editions.
Later on, under the Sung dynasty, the Kung Yung, the Tâ Hsio, or 'Great Learning,' which is also a portion of the Lî Kî, the Confucian Analects, or the Lun Yü, and the works of Mencius, were classed together as 'The Four Books,' which have since that time formed so important a division of Chinese literature; and ' the Kung Yung, in chapters and sentences, with a digest of commentaries on it,' was published by Kû Hsî early in A. D. 1189. About 125 years afterwards, the fourth emperor of the Yüan dynasty enacted that Kû's edition and views should be the text-book of the classic at the literary examinations. From that time merely the name of the Kung Yung was retained in editions of the Lî Kî, until the appearance of the Imperial edition of the whole collection in the Khien-lung period of the present dynasty. There the text is given in two Sections according to the old division of it, with the ancient commentaries from the edition of 'The Thirteen King' of the Thang dynasty, followed at the end of each paragraph by the Commentary of Kû.
The authorship of the Kung Yung is ascribed to Khung Kî, better known as Dze-sze, the grandson of Confucius. There is no statement to this effect, indeed, in the work itself; but the tradition need not be called in question. It certainly existed in the Khung family. The Book must have been written in the fifth century B. C. , some time, I suppose, between 450 and 400. Since A. D. 1267, the author has had a place in the temples of Confucius as one of 'The Four Assessors,' with the title of 'The Philosopher Dze-sze, transmitter of the Sage. ' I have seen his tomb-mound in the Confucian cemetery, outside the city of Khü-fû in Shantung, in front of those of his father and grandfather. There is a statue of him on it, bearing the inscription, 'Duke (or Prince) of the State of Î. '
It is not easy to translate the name of the Treatise, Kung Yung. It has been represented by 'Juste Milieu;' 'Medium Constans vel Sempiternurn;' 'L'Invariable Milieu;' 'The Constant Medium. ' 'The Golden Medium;' 'The True Medium,' and otherwise. I called it, in 1861, 'The Doctrine of the Mean,' which I have now changed for 'The State of Equilibrium and Harmony,' the reasons for which will be found in the notes on the first chapter of the present version.
I do not here enter on an exhibition of the scope and value of the Book. It gives the best account that we have of the Confucian philosophy and morals, and will amply repay careful study, and hold its place not only in China, but in the wider sphere beyond it. The writer had an exaggerated conception of the sage; but he deserves well of his own country and of the world.
BOOK XXIX. PIÂO KÎ.
The character called Piâo is the symbol for the outer garments, and is used to indicate whatever is external in opposition to what is internal; the outside of things, what serves to mark them out and call attention to them. Hence comes its use in the sense which it bears in the title of this Book, for what serves as an exàmple or model. Callery renders that title by 'Mémoire sur l'Exemple;' Wylie, by 'The Exemplar Record. '
Piâo is also used for the gnomon of a dial; and the Khien-lung editors fix on this application of the character in explaining the name of the Book. 'Piâo,' they say, 'is the gnomon of a dial, by which the movement of the sun is measured; it rises up in the Centre, and all round is regulated by it. The Fang Kî shows men what they ought to be on their guard against; the Piâo Kî, what they should take as their pattern. ' Then they add--'Of patterns there is none so honourable as benevolence (or humanity proper), and to aid that there is righteousness, while, to complete it, there is sincerity or good faith, and reverence is that by which the quest for humanity is pursued. ' This second sentence may be considered a summary of the contents of the Book, which they conclude by saying, they have divided into eight chapters after the example of the scholar Hwang; meaning, I suppose, Hwang Khan, who has been already mentioned as having published his work on our classic in A. D. 538.
That division into eight chapters lies on the face of the Treatise. We have eight paragraphs commencing with the characters which I have rendered by 'These were the words of the Master;' and these are followed by a number of others, more or fewer as the case may be, in which the words of the Master ('The Master said') are adduced to substantiate what has been stated in that introductory passage. The arrangement is uniform, excepting in one instance to which I have called attention in a note, and suitably divides the whole into eight chapters.
But no one supposes that 'the words of the Master' are really those of Confucius, or were used by him in the connexion which is here given to them. They were invented by the author of the Treatise, or applied by him, to suit his own purpose; and scholars object to many of them as contrary to the sentiments of the sage, and betraying a tendency to the views of Tâoism. This appears, most strikingly perhaps, in the fifth chapter. On the statement, for instance', in paragraph 32, that the methods of Yin and Kâu were not equal to the correction of the errors produced by those of Shun and Hsîa, the Khien-lung editors say:--'How could these words have come from the mouth of the Master? The disciples of Lâo-dze despised forms and prized the unadorned simplicity, commended what was ancient, and condemned all that was of their own time. In the beginning of the Han dynasty, the principles of Hwang and Lâo were widely circulated; students lost themselves in the stream of what they heard, could not decide upon its erroneousness, and ascribed it to the Master. Such cases were numerous, and even in several paragraphs of the Lî Yun (Book VII) we seem to have some of them. What we find there was the utterance, probably, of some disciple of Lâo-dze. '
No one, so far as I have noticed, has ventured to assign the authorship of this Book on example. I would identify him, myself, with the Kung-sun Nî-dze, to whom the next is ascribed.
BOOK XXX. DZE Î
It is a disappointment to the reader, when he finds after reading the title of this Book, that it has nothing to do with the Black Robes of which he expects it to be an account. That phrase occurs in the second paragraph, in a note to which its origin is explained; but the other name Hsiang Po, which is found in the same paragraph, might with equal appropriateness, or rather inappropriateness, have been adopted for the Treatise.
It is really of the same nature as the preceding, and contains twenty-four paragraphs, all attributed to 'the Master,' and each of which may be considered to afford a pattern for rulers and their people. It ought to form one Book with XXIX under the title of 'Pattern Lessons. ' I have pointed out in the notes some instances of the agreement in their style and phraseology, and the intelligent reader who consults the translation with reference to the Chinese text will discover more. Lû Teh-ming (early in the Thang dynasty) tells us, on the authority of Liû Hsien, that the Dze Î was made by a Kung-sun Ni-dze. Liû Hsien was a distinguished scholar of the early Sung dynasty, and died about A. D. 500; but on what evidence he assigned the authorship of the Book to Kung-sun Ni-dze does not, in the present state of our knowledge, appear. The name of that individual is found twice in Liû Hsin's Catalogue, as belonging to the learned school, and among 'the Miscellaneous writers,' with a note that he was 'a disciple of the seventy disciples of the Master. ' The first entry about him precedes that about Mencius, so that he must be referred to the closing period of the Kâu dynasty, the third century B. C. He may, therefore, have been the author of 'The Black Robes,' and of the preceding Book as well, giving his own views, but attributing them, after the fashion of the time, to Confucius; but, as the commentator Fang Î (? Ming dynasty) observes:--'Many passages in the Book are made to resemble the sayings of a sage; but the style is not good and the meaning is inferior. '
BOOK XXXI. PAN SANG.
This Book refers to a special case in connexion with the mourning rites, that of an individual who has been prevented, from taking part with the other relatives in the usual observances at the proper time. It might be that he was absent from the state, charged by his ruler with public business, or he might be in the same state but at a distance, and so occupied that he had been unable to take part in the mourning services.
But they were too sacred to be entirely neglected, and we have here the rules applicable to such a case, in a variety of circumstances and different degrees of consanguinity. Some other matter, more or less analogous, is introduced towards the end.
We have seen how the first of the 'Three Rituals' recovered in the Han dynasty was seventeen Books that now form the Î Lî. Kang Hsüan supposed that the Pan Sang had been another Book of that collection, and was afterwards obtained from the tablets found in the village of Yen-kung in Lû. It has been decided, however, that the style determines it to be from another hand than the Î Lî.
Here it is, and we have only to make the best of it that we can, without knowing who wrote it or when it came to light. The Khien-lung editors say :--'Anciently, in cases of mourning for a year or shorter period even, officers left their charges and hurried to the rites. In consequence of the inconvenience arising. from this, it was enacted that officers should leave their charge only on the death of a parent. It was found difficult, however, to enforce this. The rule is that a charge cannot be left, without leave asked and obtained. '
BOOK XXXII. WAN SANG.
The Wan Sang, or 'Questions about Mourning Rites,' is a short Treatise, which derives its name from inquiries about the dressing of the corpse, the putting off the cap and replacing it by the cincture, and the use of the staff in mourning. Along with those inquiries there are accounts of some of the rites, condensed and imperfect. The Book should be read in connexion with the other Books of a similar character, especially XIII.
Much cannot be said in favour of the style, or of the satisfactoriness of the replies to the questions that arc propounded. The principal idea indeed in the mind of the author, whoever he was, was that the rites were the outcome of the natural feelings of men, and that mourning was a manifestation of filial piety. The most remarkable passage is that with which the Treatise concludes, that the use of the staff was not to be sought in any revelation from heaven or earth, but was simply from the good son's filial affection. The way in which the sentiment is expressed has often brought to my mind the question of the Apostle Paul about faith, in Romans x. 6-8.
BOOK XXXIII. FÛ WAN.
Like the last two Books and the two that follow, the Fû Wan is omitted in the expurgated editions. It is still shorter than the Wan Sang, and treats also of the mourning rites, and specially of the dress in it, and changes in it, which naturally gave rise to questioning.
The writer, or compiler, often quotes from what he calls the Kwan, a name which has sometimes been translated by 'Tradition. ' But the Chinese term, standing alone, may mean what is transmitted by writings, as well as what is handed down by oral communication. It is used several times in Mencius in the sense of 'Record' and 'Records. ' I have called it here 'The Directory of Mourning. ' Wû Khang says rightly that the Book is of the same character as XIII; that the mourning rites were so many, and some of them so peculiar, that collisions between different rites must have been of frequent occurrence. The Fû Wan takes up several such cases and tells us how they were met satisfactorily, or, as we may think, unsatisfactorily.
BOOK XXXIV. KIEN KWAN.
The Kien Kwan is a Treatise on subsidiary points in the mourning rites, It is not easy to render the name happily in English. I have met with it as 'The Intermediate Record. ' Kwan is the character spoken of in the preceding notice; Kien is the symbol for the space between two things, suggesting the idea of distinction or difference. Kang Hsüan says that 'the name has reference to the distinctions suitably made in mourning, according as it was lighter or more important. '
However we translate or explain the name, we find the Book occupied with the manifestations of grief in the bearing of the mourners; in the modulation of their voices; in their eating and drinking; in their places; in the texture of their dress; and in the various changes which were made in it till it was finally put off. Some points in it are difficult to understand at this distance of time, and while we are still imperfectly acquainted with the mourning usages of the people at the present day.
BOOK XXXV. SAN NIEN WAN.
The 'Questions about the Mourning for three years' is occupied principally with the mourning for parents for that period, but it touches on all the other periods of mourning as well, explaining why one period differs in its duration from the others.
Mourning, it is said, is the outcome of the relative feeling proper to man; the materials of the dress, the duration of the rites, and other forms are from the ancient sages and legislators, to regulate and direct the expression of the feeling.
What is said in paragraph 4 about the mourning of birds and beasts is interesting, but fantastical. Though the mourning for a parent is said to last for three years, the western reader is not to suppose that it continues to the end of that time, but simply that it extends into the third year. Virtually it terminates with the twenty-fifth month, and positively with the twenty-seventh. It is the eastern mode in speaking of time to say that it lasts for three years. Similarly, I have often been told that a child, evidently not more than six months, was two years old, when a little cross-questioning has brought out the fact that it had been born towards the end of the previous year, that it had. lived in two years, and was, therefore, spoken of as two years old.
BOOK XXXVI. SHAN Î.
The Shan Î is what we should expect from the name, a description of the dress so-called. It was the garment of undress, worn by all classes of the people, from the highest to the lowest, when they were at home and at ease. What distinguished it from other dresses was that in those the jacket or upper garment was in one piece, and the skirt or lower garment in another, whereas in this they were joined together, so that it could be put on and off with ease.
In the Khien-lung edition of the Lî Kî, chapter 29, second collection of Plates, there are pictures of the Shan Î, taken from Kû Hsî's 'Rules for the Family,' but they do not correspond with the description here. More accurate plates are to be found in a monograph on the subject by Yung Kiang, a senior licentiate of the present dynasty, which forms the 251st chapter in the 'Explanations of the Classics under the Imperial dynasty of Khing. ' The proper meaning of Shan Î is 'The Deep Dress;' but the garment was also called 'The Long Dress,' which suits our nomenclature better; and 'The Inner Dress,' when it was worn under another.
The reasons assigned for fashioning it after the description in paragraphs 3 and 4 are of course fanciful; but M. Callery is too severe on the unknown author, when he says:-'On est tenté de rire en voyant les rapprochements que Pauteur cherche à établir entre la forme de cet habit et les principes les plus abstraits de la morale. Je suis porté à croire que toutes ces allegories ont été imaginées après coup; car si elles avaient dirigé la coupe primitive du Shan Î, il faudrait dire que les ateliers des anciens tailleurs de la Chine étaient des écoles de mysticisme. '
BOOK XXXVII. THÂU HO.
The Thâu Hû, or 'Pitching into a jar,' gives the description of a game, played anciently, and probably at the present day also, at festal entertainments. It was a kind of archery, with darts instead of arrows, and the hand instead of a bow; 'the smallest,' as Kang says, 'of all the games of archery,' and yet lessons for the practice of virtue and for judging of character might be learned from it. It is interesting to us, however, simply as a game for amusement, and a sufficient idea of it may be gained from this Book.
Two might play at it, or any number. The host and guest in the text are the representatives of two sides or parties. It was a contest at pitching darts into the mouth of a pot or vase, placed at a short distance from the players,--too short a distance, it appears to us. There was nothing peculiar in the form of the vase of which we have an account in paragraph 10. We are surprised to read the description of it in the late Dr. Williams' Syllabic Dictionary, under the character for Hû:--'One ancient kind (of vase) was made with tubes on each side of the mouth, and a common game, called Thâu Hû, was to pitch reeds into the three orifices. ' This would have been a different jar, and the game would have been different from that here described, and more difficult.
The style of the Treatise is like that of the Î Lî, in the account of the contests of archery in Books VIII-XI, to which we have to refer to make out the meaning of several of the phrases.
The Book should end with paragraph 10. The three paragraphs that follow seem to have been jotted down by the compiler from some memoranda that he found, that nothing might be lost which would throw light on the game.
Then follows a paragraph, which may be pronounced unintelligible. The whole Book is excluded from the expurgated editions.
BOOK XXXVIII. ZÛ HSING.
The Zû Hsing, or 'Conduct of the Scholar,' professes to be a discourse delivered to duke Âi of Lû on the character and style of life by which scholars, or men claiming to possess literary acquirements, ought to be, and were in a measure, distinguished. Even so far back, such a class of men there was in China. They had certain peculiarities of dress, some of which are alluded to in Odes of the Shih. The duke, however, had not been accustomed to think highly of them; and struck by something in the dress of Confucius, he asks him if he wore the garb of a scholar. The sage disclaims this; and being questioned further as to the conduct of the scholar, he proceeds to dilate on that at great length, and with a remarkable magnificence of thought and diction. He pourtrayed to his ruler a man sans peur et sans reproche, strong in principle, of cultivated intelligence, and animated by the most generous, patriotic, and benevolent spirit. We are told in the conclusion that the effect on duke Âi was good and great. It made him a better man, and also made him think more highly of the class of scholars than he had done. The effect of the Book on many of the literati must have been great in the ages that have intervened, and must still be so.
But did such a conversation really take place between the marquis of Lû and the sage? The general opinion of' Chinese scholars is that it did not do so. Lü Tâ-lin (of the eleventh century, and a contemporary of the brothers Khang), as quoted by the Khien-lung editors, while cordially approving the sentiments, thinks the style too grandiloquent to allow of our ascribing it to Confucius. Another commentator of the Sung period, one of the Lîs[1], holds that the language is that of some ambitious scholar of the period of the Warring States, who wished. to stir up the members of his order to a style of action worthy of it. P. Callery appends to his translation the following note:--'In general, the maxims of this chapter are sufficiently profound to justify us in ascribing them to Confucius, in preference to so many other passages which the author of this work places to the credit of the great philosopher. We find nevertheless in it some ideas of which the really authentic works of Confucius do not offer any trace. '
BOOK XXXIX. TÂ HSIO.
Like the Kung Yung (XXVIII), the Tâ Hsio has long been published separately from the other Books of the Lî Kî, and is now. the first of the well-known 'Four Books. ' As it appears in this translation, we follow the arrangement of the text given by the Khien-lung editors from that in the Thirteen King published by Khung Ying-tâ, who himself simply followed King Hsüan. Early in the Sung dynasty the brothers Khang occupied themselves with the Treatise; and thinking that errors had crept into the order of the paragraphs, and that portions were missing, made various alterations and additions. Kû Hsî entered into their labours, and, as he thought, improved on them. It is now current in the Four Books, as he published it in 1189, and the difference between his arrangement and the oldest one may be seen by comparing the translation in the first volume of my Chinese Classics and that in the present publication.
Despite the difference of arrangement, the substance of the work is the same.
There can be no doubt that the Tâ Hsio is a genuine monument of the Confucian teaching, and gives us a sufficient idea of the methods and subjects in the great or higher schools of antiquity. The enthusiasm of M. Pauthier is not to be blamed when he says:--'It is evident that the aim of the Chinese philosopher is to exhibit the duties of political government as the perfecting of self and the practice of virtue by all men. '
Pauthier adopts fully the view of Kû, that the first chapter is a genuine relic of Confucius himself, for which view there really is no evidence. And he thinks also that all that follows should be attributed to the disciple, Zang-dze, which is contrary to the evidence which the Treatise itself supplies.
If it were necessary to assign an author for the work, I should adopt the opinion of Kiâ Kwei (A. D. 30-101), and assign it to Khung Kî, the grandson of Confucius, and author of the Kung Yung. 'When Khung Kî,' said Kiâ, 'was still alive, and in straits, in Sung, being afraid that the lessons of the former sage (or sages) would become obscure, and the principles of the ancient Tîs and Kings fall to the ground, he made the Tâ Hsio, as the warp of them, and the Kung Yung as the woof. ' This would seem to have been the opinion of scholars in that early time, and the only difficulty in admitting it is that Kang Hsüan does not mention it. Notwithstanding his silence, the conviction that Khung Ki wrote both treatises has become very strong in my mind. There is that agreement in the matter, method, and style of the two, which almost demands for them a common authorship.
BOOK XL. KWAN Î
A fuller account of the ceremony of capping is obtained from portions of the ninth and other Books, where it comes in only incidentally, than from this Book in which we might expect from the title to find all the details of it brought together. But the object of the unknown writer was to glorify the rite as the great occasion when a youth stepped from his immaturity into all the privileges and responsibilities of a man, and to explain some of the usages by which it had been sought from the earliest times to mark its importance. This intention is indicated by the second character in the title called Î, which we have met with only once before in the name of a Book,-in Kî Î, 'the Meaning of Sacrifices,' the title of XXI. It is employed in the titles of this and the five Books that follow, and always with the same force of 'meaning,' 'signification,' 'ideas underlying the ceremony. ' Callery renders correctly Kwan Î by 'Signification de la Prise du Chapeau Viril. '
The Chinese cap of manhood always suggests the toga virilis of the Romans; but there was a difference between the institutions of the two peoples. The age for assuming the toga was fourteen; that for receiving the cap was twenty. The capped Chinese was still young, but he had grown to man's estate; the gowned Roman might have reached puberty, but he was little more than a boy.
Until the student fully understands the object of the Treatise, the paragraphs seem intricate and heavy, and the work of translation is difficult.
BOOK XLI. HWAN Î.
After capping comes in natural order the ceremony of marriage; and we are glad to have, in the first portion of this Book, so full an account of the objects contemplated in marriage, the way in which the ceremony was gone about, and the subsequent proceedings by which the union was declared to be established.
The writer made much use of the chapters on marriage in the Î Lî. Nothing is said of the age at which it was the rule for a young man to marry; and this, we have seen, is put down, in other parts of this collection, as thirty. The same age is mentioned in the Kâu Lî, XIII, 55, on the duties of the marriage-contractor. But marriage, we may assume from the case of Confucius himself, actually took place earlier in ancient times, as it does now. The Dze[1], or name of maturity, which was given at the capping, is commonly said to be the name taken at marriage, as in Morrison's Dictionary, I, i, page 627.
The duties set forth in the Book, however, are not those of the young husband, but those of the wife, all comprised in the general virtue of 'obedience. ' After the tenth paragraph, the author leaves the subject of marriage, and speaks of the different establishments of the king and queen and of their functions. So far what is said on these topics bears on marriage as it sets forth, mystically, that union as analogous to the relations of heaven and earth, the sun and moon, and the masculine and feminine energies of nature; and the response made by these to the conduct of the human parties in their wedded union.
BOOK XLII. HSIANG YIN KIÛ Î
Hsiang was anciently the name for the largest territorial division of the state. Under the dominion of Kâu, from the hamlet of five families, through the lü, the zû, the tang, and the kâu, we rise to the hsiang, nominally containing 12,000 families, and presided over by a 'Great officer. ' The royal domain contained six hsiang, and a feudal state three.
In more than one of these territorial divisions, there were festive meetings at regular intervals, all said to be for the purpose of 'drinking. ' There was feasting at them too, but the viands bore a small proportion to the liquor, called by the name of Kiû, which has generally been translated wine, though the grape had nothing to do with it, and whether it was distilled or merely fermented is a disputed point.
The festivity described in this Book was at the true Hsiang meeting, celebrated once in three years, under the superintendence of 'the Great officer' himself, when, in the, principal school or college of the district, he assembled the gentlemen of accomplishments and virtue, and feasted them. His object was to select, especially from among the young men, those who were most likely to prove useful to the government in various departments of service. There was in the celebration the germ of the competitive examinations which have been for so long a characteristic feature of the Chinese nation.
The writer had before him the sixth and seventh Books of the Î Lî on the same subject, or their equivalents. He brings out five things accomplished by the ceremony, all of a moral and social nature; but in trying to explain the arrangements, he becomes allegorical or mystical, and sometimes absurd.
BOOK XLIII. SHÊ Î
There were various games or competitions of archery; at the royal court, at the feudal courts, at the meetings in the country districts which form the subject of the last Book, and probably others of a less public and distinguished character. We have references in this Book to at least one of the archery trials at the royal court; to that at the feudal courts; and to one presided over by Confucius himself, of which it is difficult to assign the occasion. The object of the author is to show the attention paid to archery in ancient times, and how it was endeavoured to make it subservient to moral and educational purposes.
He had before him the accounts of the archery for officers in Books VIII, IX, and X of the Î Lî; but he allows himself more scope, in his observations on them, than the authors of the two preceding Books, and explains several practices in his own way,--unsatisfactorily, as I have pointed out in my notes.
BOOK XLIV. YEN Î
The Yen Î, or 'Meaning of the Banquet,' is a fragment of only five paragraphs, which, moreover, are inartistically put together, the first having no connexion with the others. The Book should begin with paragraph 2, commencing: 'The meaning of the Banquet at the feudal courts was this. ' It was of this banquet that the compiler intended to give his readers an idea.
The greatest of all the ancient banquets was that which immediately followed the sacrifices in the ancestral temple, given to all the kindred of the same surname as the ruler, and to which there are several references in the Shih King. Thang San-zhâi (Ming dynasty) specifies four other occasions for the banquet besides this:--It, might be given by a feudal prince, without any special occasion,--like that described in the second of the Praise Songs of Lû; or to a high dignitary or Great officer, who had been engaged in the royal service,--like that in the Minor Odes of the Kingdom, iii, 3; or when a high dignitary returned from a friendly mission,--like that also in the Minor Odes, i, 2; or when an officer came from one state to another on a friendly mission. Many other occasions, however, can be imagined on which public banquets were appropriate and might be given. The usages at them would, for the most part, be of the same nature.
The eleventh and twelfth chapters of the Î Lî are occupied with the ceremony of the banquet. The author of this Treatise quotes passages here and there from them, and appends his own explanation of their educational significance. Two lessons, be says, were especially illustrated in them:--the right relations to be maintained between superiors and inferiors, and the distinction between the noble and the mean.
BOOK XLV. PHING Î
The subject of the Phing Î is the interchange of missions between the ancient feudal states. It was a rule of the kingdom that those states should by such interchange maintain a good understanding with one another, as a means of preventing both internal disturbances and aggression from without. P. Callery gives for the title:--'Signification (du Rite) des Visites. ' I have met with it rendered in English by 'The Theory of Embassies;' but the Phing was not an embassy on any great state occasion, nor was it requisite that it should be sent at stated intervals. It could not be long neglected between two states without risk to the good fellowship between them, but events might at any time occur in any one state which would call forth such an expression of friendly sympathy from others.
A mission occasioned a very considerable expenditure to the receiving state, and the author, with amusing ingenuity, explains this as a device to teach the princes and their peoples 'to care little for such outlay in comparison with the maintenance of the custom and its ceremonies.
Those visits are treated with all the necessary details in the Î Lî, Books XV-XVIII; and though the extracts from them are not many, we get from the author a sufficiently intelligible account of the nature of the missions and the way in which they were carried through.
In paragraph 11, however, be turns to another subject, and writes at some length about archery, while the concluding paragraphs (12 and 13) give a conversation between Confucius and his disciple Dze-kung on the reasons why jade is thought so much of. The three paragraphs have no connexion with those that precede on the subject of the missions; and the question arises-Whence were they derived? The previous paragraphs, taken from or based on the Î Lî, are found in one of the surviving Treatises of the larger collection of the Greater Tâi, the thirty-sixth Book, called Khâo-sze, in consequence of which the Khien-lung editors suggest that these concluding paragraphs were an addition made by his relative, Tâi Shang. It may have been so, but we should not thereby be impressed with a high idea of the skill or judgment with which Shang executed his work.
BOOK XLVI. SANG FÛ SZE KIH.
This Book, with which the collection of the Lî Kî concludes, is an attempt to explain the usages of the mourning rites, and especially of the dress, wherein they agree, and wherein they differ, by referring them to the four constituents of man's nature,--love, righteousness, the sentiment of propriety, and knowledge, in harmony with the operations of heaven and earth in the course of nature. We do not know who was the author of it, but the Khien-lung editors contend that it could not have been in the original compilation of the Smaller Tâi, and owes its place in the collection to Kang Hsüan.
The greater part of it is found in the thirty-ninth, or last but one[1], of the Books still current as the Lî of the Greater Tâi; and another part in the 'Narratives of the School,' the third article in the sixth chapter of that Collection[2], the compilation of which in its present form is attributed to Wang Sû in the first half of our third century. But this second fragment must have existed previously, else Kang
[1. ###.
2. ###. ]
himself could not have seen it. The argument of those editors, therefore, that some scholar, later than the Smaller Tâi, must have incorporated it with what we find in the Greater Tâi, adding a beginning and ending of his own, so as to form a Book like one of those of Tâi Shang, and that Kang thought it worth his while to preserve it as the last portion of Shang's collection,--this argument is inconclusive. The fragment may originally have formed part of Tâi Teh's thirty-ninth Book or of some other, and the whole of this Book have been arranged, as we now have it by Shang himself, working, as he is reported to have done, on the compilation or digest of his cousin. However this be, the views in the Book are certainly ingenious and deserve to be read with care.
A few lines in Callery's work are sufficient to translate all of the Book which is admitted into the expurgated editions.
