《南華真經章句音義》

Zhuangzi, whose given name was Zhou and courtesy name Zixiu, was a native of Mengcheng in the State of Song, living during the same era as King Hui of Liang and King Wei of Qi. He once served as an official in charge of lacquer gardens and became a disciple of Master Changsang, inheriting his authentic teachings before composing over 100,000 words of writings collectively titled the Nanhua Jing (Southern Florescence Scripture). His philosophy originated from the Huang-Lao tradition (teachings of the Yellow Emperor and Laozi), later studying under Yuan Yuan of Chu, before finally retreating to Mount Baodu for cultivation. After ingesting the Northern Nurturing Fire Elixir, he achieved daylight ascension to immortality.

During the Tang Dynasty, on the fourth day of the fifth month in the 19th year of the Kaiyuan era (731 CE), the court official Pei Guangting petitioned for the canonization of four Daoist sages. On the 20th day of the second month in the 1st year of the Tianbao era (742 CE), an imperial decree formally granted these titles: Zhuangzi was honored as Nanhua Zhenren (Perfected Being of Southern Florescence), with his work designated as the Nanhua Zhenjing (True Scripture of Southern Florescence); Wenzi’s text became the Tongxuan Zhenjing (True Scripture of Pervading Mystery); Liezi’s work was titled the Chongxu Zhenjing (True Scripture of Soaring Emptiness); and Gengsangzi’s text was renamed the Dongling Zhenjing (True Scripture of Cavernous Numinosity). The term Nanhua (Southern Florescence) derives from the luminous essence of the Li trigram (one of the Eight Trigrams), symbolizing the profound mystery of the Dao.

Free and Easy Wandering (Xiaoyao You) is the first of the seven "Inner Chapters," all titled by Zhuangzi during his time at the lacquer gardens. Only by attaining a state of "no-self" can one transcend worldly achievements and wealth, achieving true freedom and ease. This chapter comes first because, although it speaks of transcending mundane concerns, it still harbors a sense of self-importance. This leads to the Discourse on Equalizing Things (Qiwu Lun), which clarifies that true equality means forgetting external distinctions and embracing natural parity—persisting in differentiation only breeds disputes over right and wrong. One who sees through this cycle and enters a state of luminous emptiness can equalize all things. Yet those who rely solely on "emptiness" to achieve this still fail to grasp the nature of life and death, hence the subsequent chapter The Key to Nourishing Life (Yangsheng Zhu). Here, the "key" (zhu) refers to the True Sovereign (original spirit, yuanshen) that governs both spirit and form. The body is like firewood, the spirit like flame—when the wood is exhausted, the fire dies out. Only those skilled in nourishing life can sustain the flame.

However, those who shine with solitary enlightenment struggle to blend with ordinary people, hence the chapter The Human World (Renjian Shi). To dwell in a turbid world without being tainted—like the radiance of the Dao illuminating yet merging with the dust—is the mark of genuine virtue, leading to the chapter The Sign of Virtue Complete (De Chong Fu). When virtue fills one’s being, physical form is forgotten; only those who conceal their brilliance can preserve their innate nature, making them worthy teachers. Thus follows The Great and Venerable Teacher (Da Zong Shi). The ultimate teacher is the zhenren (Perfected Being), who acts without contrived intention—only through this "no-mind" can one roam with the transformative processes of creation. Finally comes Responding to Emperors and Kings (Ying Di Wang). The emperor embodies the source of the Dao and the master of transformation, ranking among the "Four Greats" (the Dao is great, heaven is great, earth is great, and the king is also great). As the supreme sovereign of all things, his realm is vast and profound.

This passage provides annotations on key terms from the "Free and Easy Wandering" chapter of the Zhuangzi, elucidating the deeper meanings behind several central images:

Regarding "Northern Darkness" (the profound northern sea), the commentary notes that the character "冥" (darkness) can also be written as "溟" (vast waters). Ji Kang interpreted this as representing boundless immensity, while Emperor Jianwen of Liang described it as a state of unfathomable depth. The term "Kun" (giant fish) originally meant fish eggs in the Erya dictionary, here symbolizing the undifferentiated primordial state before its transformation into a fish of unimaginable size spanning thousands of miles.

The "Peng" (great bird), anciently written with the character "朋" (companion), subtly implies communal nature, yet its cry differs from other birds. When this colossal bird takes flight, its wings stretch to incalculable breadth. "Southern Darkness" mirrors Northern Darkness in denoting equally unfathomable oceanic depths.

Other significant terms are explained: "Qi Xie" might refer to a person's name or book title; "tuan" describes birds grasping wind currents with their talons to ascend; "fuyao" means whirlwind; "aotang" indicates sunken courtyard spaces; "jie" refers to small grasses; "jiao" conveys adhesion; "yao'e" suggests obstruction or snapping. "Tiao" denotes cicadas, while "xuejiu" names a small turtledove species.

Finally, "jueqi" depicts rapid takeoff; "qiang" carries meanings of gathering or attaching; "yufang" names two tree species; "kong" can mean either casting or pulling; and "mangcang" describes the hazy scenery of suburban wilderness. These annotations help clarify both the concrete references and symbolic dimensions of Zhuangzi's grand cosmological imagery.

This passage illustrates the vast differences in temporal perception among various lifeforms, along with legends of long-lived beings.

First, it describes several short-lived creatures: The morning mushroom (a fungus growing on dung) withers upon exposure to sunlight, unable to survive a single day, and thus knows nothing of the lunar cycle. The summer cicada, born in spring and dying in summer—or born in summer and dying in autumn—has no concept of the four seasons. Their lifespans are too brief to grasp longer temporal concepts.

In contrast, the text mentions several long-lived beings: The Dark Spirit tree (a southern tree) counts two thousand years as a single spring and autumn, while the Great Toon tree measures thirty-two thousand years as one year. It also speaks of Pengzu (surname Jian, given name Keng), a descendant of ancient rulers renowned for his mastery of life-nourishing arts. Skilled in preparing pheasant soup, he earned the favor of Emperor Yao and was enfeoffed at Pengcheng—legend claims he lived eight hundred years.

Finally, the text references King Tang of Shang (surname Zi, given name Tianyi), founder of the Shang dynasty, who overthrew the tyrant Jie of Xia and was honored as "Tang." Additional explanations clarify certain terms: "Barren North" refers to the vegetation-less northern lands; "goat's horn" describes the spiraling ascent of a whirlwind; and the "marsh sparrow" is a small bird capable only of short flights.

These comparisons underscore how drastically temporal perception varies among beings—insects cannot fathom seasons, ephemeral fungi know nothing of moon phases, while entities like the Great Toon and Pengzu operate on time scales far beyond ordinary comprehension.

This passage provides phonetic annotations, semantic explanations, and contextual background for certain terms in the Nanhua Zhenjing (i.e., Zhuangzi). Here's a detailed breakdown:

Regarding the character "能" (néng): Its ancient pronunciation was similar to the modern "néng" (奴登切). The Shuowen Jiezi explains it originally referred to a bear-like animal with deer-like hooves—a creature of great physical strength, hence its extended meaning of "capability" or "virtue." Some scholars read it with its original meaning indicating "stability."

The reading of "不宁" proposed by Zheng Xuan (Eastern Han dynasty classicist) is not adopted here. The character "徵" retains its standard pronunciation. Sima Biao (Jin dynasty scholar) interprets it as "trustworthiness," while Cui Zhuan (Han dynasty scholar) explains it as "accomplishment."

Historical figures:

Song Rongzi was a virtuous man from the Song state. In the phrase "犹然笑之," the character "犹" means "still considers laughable." "沮" is pronounced "cí lǚ qiè" (慈吕切), meaning "to ruin" or "corrupt."

"数数" is pronounced "shuò." Sima Biao interprets it as "eager pursuit," while Cui Zhuan explains it as "hurried urgency." Emperor Jianwen of Liang (Southern Dynasties) read it as "suǒ yú qiè" (所渝切), meaning "counting numbers."

Liezi (also known as Lie Yukou or Lie Yuke, from the Zheng state) was an immortal who attained the Dao, capable of riding the wind. He was contemporaneous with Duke Mu of Zheng. Lu Ji (Western Jin literatus) records in Yao Jue that Liezi would often ride the wind to travel the eight directions during the Beginning of Spring season, moving with ethereal grace.

"Six Qi" refers to the six climatic phenomena: wind, cold, summer heat, dampness, dryness, and fire. Sima Biao alternatively suggests they represent yin, yang, wind, rain, darkness, and brightness. "辩" is pronounced "píng miǎn qiè" (平免切), meaning "transformation." Guo Xiang (Jin dynasty Neo-Daoist) annotates that "mastering the transformations of the Six Qi" means navigating the path of change.

"恶乎" is pronounced "wū," meaning "where." "无己" is pronounced "jǐ," referring to the elimination of selfhood to achieve spiritual liberation (xiaoyao 逍遥).

Regarding Emperor Yao: Son of Emperor Ku, with the surname Yiqi and courtesy name Fangxun. Enfeoffed as Marquis of Tang at fifteen, he ascended the throne at twenty-one, establishing his capital in Pingyang. After seventy years of reign, he discovered Shun, then abdicated to him after another twenty years. Yao lived 118 years total, reigning for 98 years before being buried in Yangcheng.

Xu You (courtesy name Zhongwu) was a hermit dwelling north of the Ying River beneath Mount Ji, posthumously honored as "Lord Ji." "爝火" denotes a small torch. "Seasonal rains" refers to the Shennong-era phenomenon of rainfall every fifteen days. Both "浸" and "灌" mean irrigation. "治" is pronounced "zhì," indicating successful governance.

"鹪鹩" refers to a small bird (wren), which Guo Pu (Eastern Jin scholar) identifies as the peach-blossom finch. These annotations primarily provide phonetic-semantic explanations and contextual knowledge for reading the Zhuangzi.

This passage elucidates the meanings and contextual background of specialized terms found in the Nanhua Zhenjing (Classic of Nanhua).

Regarding the "skilled woman bird" (also called artisan sparrow or craftswoman Yan), this refers to a small-bodied bird. The mentioned "Yan mouse" (a type of mole rat or field mouse) describes a large rodent resembling an ox with reddish-black fur and hoof-like feet similar to a river deer's, known for frequenting riverbanks to drink. According to Jinlouzi, such giant rats appeared in Jinning County territory; when famine years approached, they would emerge from mountains, their shed fur transforming into smaller mice that ravaged crops.

"Kitchen steward" denotes officials managing culinary affairs, with this position specifically recorded in Rites of Zhou. In "corpse invocator," the "corpse" refers to ancestral tablets in grand temples, while "invocator" indicates the grand custodian ritualist who recites prayers to the tablets during ceremonies—alternatively interpreted as mediators conveying spirit messages. "Zun" designates wine vessels, and "zu" meat-serving utensils.

Key figures are introduced: Jianwu represents a virtuous man, while Lianshu embodies a Daoist practitioner. Jieyu (personal name Lu Tong) was a Chu state hermit contemporary with Confucius, who feigned madness to avoid office. When King Chu offered lavish gifts for his service, he disappeared into mountain seclusion with his wife.

Additional lexical explanations: "Unsubstantiated" describes exaggerated, unrealistic speech; "terror" signifies fear; "extremity" indicates radical behavior or bluntness; "Guye" names a mountain in the Northern Sea; "delicate" portrays frail appearance; "flaw" denotes defects or slander; "pestilence" means malignant disease; "derangement" refers to madness; "blindness" describes sealed eyes like drumheads; "deafness" indicates hearing loss.

These interpretations provide essential references for comprehending specialized vocabulary and allusions within the Nanhua Zhenjing.

This passage primarily contains annotations of specific terms and background information on figures from the Nanhua Zhenjing (i.e., Zhuangzi). It first explains the term "shinü" (时女), describing it as referring to someone who is as serene and yielding as a maiden—gentle, non-confrontational, neither actively seeking others out yet often sought after by others. The term "pangbo" (旁薄) is interpreted as embodying a state of blending harmoniously with all things and encompassing everything.

Next, it provides a detailed account of Emperor Shun’s life: he was the sixth-generation descendant of Emperor Zhuanxu, with a father named Gusou and a mother, Wodeng, who conceived him after sensing a great rainbow. Born in Yao Marsh, he took the surname Yao. Shun was born with double pupils, earning him the courtesy name Chonghua. Renowned in his village for benevolence and filial piety, Emperor Yao married his two daughters to Shun and enfeoffed him in the land of Yu. At twenty, he was celebrated for his filial devotion; by thirty, he oversaw all officials; at fifty, he acted as regent for the Son of Heaven. When Yao passed away at fifty-eight, Shun formally ascended the throne at sixty-one, establishing his capital at Puji (though some sources cite Pingyang or Pan). After thirty-nine years of reign, he died during an inspection tour in the wilderness of Cangwu and was buried south of the Yangtze at Mount Jiuyi, known as Lingling.

Later, the phrase "zi zhangfu" (资章甫) refers to the people of Song (modern-day Shangqiu, Henan) selling Shang dynasty-style caps as merchandise to the state of Yue (modern-day Shaoxing, Zhejiang). The "Four Masters" (四子) denote the recluses Wang Ni, Nie Que, Bei Yi, and Xu You, who dwelled north of the Fen River (near modern-day Linfen, Shanxi, once the capital of Yao). The term "yaoran" (窅然) describes a state of melancholy detachment—profound and unfathomable.

Finally, the text mentions Master Hui (Hui Shi), a native of Song who served as prime minister to King Hui of Liang. These annotations provide essential contextual details for understanding the original Zhuangzi text, including biographical accounts, geographical references, and lexical explanations.

King Wei Cheng (also known as King Hui of Liang) originally resided in Anyi, ruling the state of Wei. Later, pressured by the powerful Qin state, he moved his capital to Daliang (present-day Kaifeng, Henan), changed the state's name to Liang, and presumptuously declared himself king.

"贻" is pronounced "yí," meaning to gift. "瓠" is pronounced "hù," referring to a gourd. "种章勇切" describes the seeds of the gourd. "实五石" indicates this gourd could hold five dan (a unit of capacity). "盛" is pronounced "chéng," meaning to fill. "剖" is pronounced "pǒu," meaning to split or divide. "瓢" is pronounced "piáo," referring to a ladle for scooping water.

"瓠落," as annotated by Emperor Jianwen, refers to something hollow and spacious. Sima Biao explains "瓠" as scattered and "落" as dispersed, describing the gourd as flat and shallow—if filled with water, it would leak. "呺然" is pronounced "xiāo rán," with Li Yi interpreting it as something grand yet empty. Cui Zhuan writes it as "𧦢."

"龟手" refers to hands blackened and calloused from long labor. "洴" is pronounced "píng," meaning to float. "澼" is pronounced "pì," with Li Yi explaining it as the sound of rinsing. Cheng Xuanying says "澼" is like "擗," referring to washing silkworm cocoons in water. "絖" is pronounced "kuàng," explained in the Xiao Erya as fine silk floss. Li Yi states "洴澼絖" means rinsing silk floss on water.

"百金" was originally missing in the Jiangnan manuscript. Li Yi explains: one "jin" refers to a square inch of gold weighing one catty, so a hundred "jin" equals a hundred catties. "鬻" is pronounced "yù," meaning to sell. "技" is pronounced "jì," referring to skill or method.

"大樽," as Sima Biao explains, is something like a wine vessel tied to the body to float across rivers and lakes—this is the so-called "waist boat." "虑" means to plan or ponder. "蓬之心," as Guo Xiang explains, is like the heart of a tumbleweed—not straight and unobstructed. Xiang Xiu says the tumbleweed is short and stunted, metaphorically describing someone with narrow vision.

"樗" is pronounced "chū," a type of tree. Cheng Xuanying says it resembles the lacquer tree, with an unpleasant odor—an inferior tree. Some believe it resembles the Chinese toon tree. "拥肿," as Li Yi explains, refers to something gnarled and twisted like a tree burl. "卷曲" is pronounced "quán," with Cheng Xuanying interpreting it as not upright or straight. "狸," according to Sima Biao, is a wildcat, while Cheng Xuanying says it's a mountain cat. "敖者," as Zhi Dun explains, refers to arrogant individuals.

This passage provides explanations for the pronunciation and meaning of certain terms in the Nanhua Zhenjing (i.e., Zhuangzi). It elucidates several key phrases:

"伺彼怠傲" means observing when the other party becomes negligent or arrogant. In "承夫间殆," the character "殆" is pronounced as "遨" (áo), indicating waiting for an opportune moment. Sima Biao (a commentator on Zhuangzi) reads it as "遨," meaning to observe covertly.

"翔之物而食之" refers to small flying creatures such as chickens and mice. Here, "跳" is pronounced as "条" (tiáo), and "辟" as "避" (bì), with similar pronunciations applying to analogous cases below.

"机辟" is pronounced as "毗" (pí), denoting a mechanical trap, similar to a tipping cart used for hunting. "罔罟" is pronounced as "古" (gǔ), referring to nets for catching birds and beasts.

"犛牛" can be pronounced as "吕之切" (lǚ) or "李" (lǐ), also read as "来" (lái). It refers to a long-haired ox found in southwestern ethnic regions. These massive creatures appear like distant clouds on the horizon when viewed from afar.

"无何有之乡" describes a vast, uninhabited wilderness. "莫" here means "nothingness," depicting an extremely expansive, empty place—hence the name "land of nothingness."

"彷徨" is pronounced as "薄刚切" (páng huáng), with "徨" read as "皇" (huáng), meaning to soar freely. Some versions write it as "方羊," which Guangya interprets as "wandering and leaning." The final phrase, "安所困苦哉," appears in some editions as "安所穷困哉," meaning "how could there be any hardship?"

These annotations primarily assist readers in understanding the pronunciation and specific meanings of uncommon characters in the original Zhuangzi text, reflecting the meticulous scholarship ancient commentators applied to this Daoist classic.