《南華真經章句音義》Vol. 11

This passage provides commentary on the "Gengsang Chu" chapter from the Nanhua Zhenjing (the Daoist name for the Zhuangzi). It primarily explains the meanings of personal names, place names, and key terms.

Among Lao Dan's (Laozi's) disciples was one named Gengsang Chu, recorded as "Kang Cang" in Sima Qian's Records of the Grand Historian. As the most outstanding disciple of Laozi, he was said to have "partially attained" (pian de) the true transmission. The commentary notes that Mount Weilui refers to Yu Mountain in Xuzhou.

The text describes two approaches to worldly conduct: "painting forth" (hua ran) describes those who scheme and deliberately display wisdom, while "contracting forth" (qie ran) refers to enforcing humaneness and righteousness through formal contracts. Both approaches violate natural spontaneity. Gengsangzi advocated abandoning such artificial constructs of virtue and wisdom.

"Swollen and knotted" (yong zhong) describes a state of unadorned simplicity, while "harnessed palms" (yang zhang) denotes an uncontrived manner—both terms depict the return to primordial authenticity. The passage employs agricultural metaphors: daily calculation yields little, yet following seasonal rhythms brings abundant yearly harvests. Just as autumn marks nature's fruition, the treasures of heaven and earth manifest spontaneously.

"Ringed walls" (huan du) refers to a modest living space of ten square feet, symbolizing simple living. "Sacrificial vessels" (zu dou) represent ritual implements used in communal ceremonies, here denoting ceremonial propriety among people. The "ladle" (biao) signifies standards or measures. Finally, "ordinary ditches" (xun chang zhi gou) describes common irrigation channels, citing the Rites of Zhou specifications: irrigation ditches being eight feet wide and deep, while drainage canals measure two xun (sixteen feet) in both width and depth.

This passage provides phonetic annotations and semantic explanations for specific terms found in the Nanhua Zhenjing (i.e., Zhuangzi). Here are the detailed clarifications:

The character "仞" in "二仞" refers to an ancient unit of length with varying interpretations: Kong Anguo defines it as eight chi (feet), while the Erya states it as four chi. In the phrase "步仞之丘陵," "步" means six chi, and "仞" means seven chi, describing a small hillock one bu wide and one ren high.

"鲵鳅" (referring to salamanders and loaches) are phonetically annotated as "五兮切" and "音秋" respectively. The text notes their ability to swim and turn freely ("得曲折") in small ditches, with Wang Bi's commentary suggesting they thrive in such confined spaces.

In "狐为之祥," the character "祥" is interpreted by Li Gui as "怪" (strange/uncanny), indicating foxes' penchant for mischief ("喜为袄"). Wang Bi remarks that wild foxes rely on small hills to cause disturbances, while Cui Zhuan explains it as foxes considering the hillocks favorable ("善也"), with "祥" meaning "good."

The "函" in "函车之兽" (a beast large enough to contain a chariot) is pronounced "含." Li Gui explains this as referring to a massive creature capable of enveloping a chariot. "介而" is pronounced "戒," with the Guangya defining it as "独" (solitary). Some versions write it as "分," meaning to disperse.

"吞舟" is pronounced "敕恩切," and "碭而失水" as "徒浪切." Cui Zhuan's version writes it as "去水陆居," describing a large fish leaving water for land. "蚁" is pronounced "绮切," with alternate versions reading "穷之深眇" (delving into minute details). Cheng Xuanying interprets "眇" as "远" (distant).

"二子" is identified by Xiang Xiu, Cui Zhuan, and Guo Xiang as Yao and Shun. "殖蓬" is pronounced "蒲空切," and "栉" as "侧瑟切," synonymous with "扻." The Shuowen Jiezi defines it as a general term for combs.

"数米" is pronounced "色主切," and "炊" as "昌垂切." Xiang Xiu explains this as nitpicking over trivial gains. "窃窃" is described by Sima Biao as whispering, while others interpret it as being overly meticulous.

"轧" is pronounced "于黠切," with the annotation explaining it as wheel crushing. "弑" is pronounced "试." "穴阫" is pronounced "普回切," with Xiang Xiu interpreting "阫" as a wall, suggesting recklessness.

"吾语" is pronounced "鱼据切." "南荣趎" is pronounced "厨" (Changyu qie), a disciple of Gengsangzi. Xiang Xiu reads it as "疇." This figure appears in the Hanshu's "Table of Ancient and Modern Persons" as "南荣疇," with variants like "儔" or "壽," and the Huainanzi writes it as "南荣幬."

In "敕蹻趹步百合不休," "蹴" is pronounced "子六切." "已长" is pronounced "丁丈切." "将恶" is pronounced "乌." "辟" is pronounced "婢亦切," with Cui Zhuan reading it as "必亦切," meaning connected. "或间" refers to intervals. "勉闻道" is explained by Xiang Xiu as striving to attain the Dao.

This passage primarily provides explanations and phonetic notations for challenging terms found in the Nanhua Zhenjing (Southern Florescence Scripture). Several key concepts are addressed:

The character "强" (qiang) appears as "晩" (wan) in some versions, conveying the meaning of barely perceiving something with the ears without fully comprehending it in the heart. "奔蜂" (benfeng) refers to small wasps or ground-nesting bees, with the Li family edition from Jiangnan omitting the character "曰" (yue). "藿蠋" (huozhu) denotes the large green caterpillars found in bean leaves. "越鸡" (yueji) indicates young chickens, though some identify them as "荆鸡" (jingji). "伏" (fu) describes birds incubating their eggs.

"赢粮" (yingliang) means carrying provisions, with dialects from Qi, Chu, Chen, and Song regions using "赢" for carrying loads. "朱愚" (zhuyu) refers to a heart of sincere simplicity, rendered as "柣愚" (zhiyu) in the ancient Jiangnan manuscript. "规规" (guigui) depicts a dazed or diminutive appearance. "洒濯" (sazhuo) signifies cleansing, while "郁郁" (yuyu) describes how stagnant water becomes turbid, entangled trees breed insects, and overgrown grass withers.

"外韄" (waihuo) denotes external constraints, like a sword's leather sheath. "内揵" (neijian) indicates internal obstructions or blockages. "卫生" (weisheng) means protecting life to align it with the Dao. "翛" (xiao) portrays a state of complete unconstraint. These annotations assist readers in comprehending specialized vocabulary and the deeper implications of Daoist cultivation within the scripture.

This passage primarily explains the meanings and pronunciations of terms from the Nanhua Zhenjing (Classic of Southern Florescence) while discussing key Daoist cultivation concepts.

First, it clarifies several terms: "Zhi zhu" describes a state of straightforwardness unburdened by attachments; "Yi" refers to the throat (with some versions using "Bu yi" to indicate blocked Qi channels); "Wo" means making a fist; "Gong" signifies single-minded focus without bias, embodying the natural purity of an infant; "Shun" denotes movement; and "Jiao" implies shared participation.

Regarding cultivation states: When one achieves inner stability ("Yu tai ding"), the mind enters profound tranquility. In this state, one perceives the essence of things. Both "Lingtai" (Spirit Terrace) and "Lingfu" (Spirit Mansion) refer to the inner self—the "Zhenjun" (True Lord, or original spirit) resides within as the "mansion," while the "Zhenzai" (True Governor, the life-governing force) roams above as the "terrace." Without first turning inward in self-reflection, even purposeful actions will miss their mark.

The text also examines the character "Quan" (contract): Inward seeking constitutes self-cultivation, while outward pursuit resembles mere transactional display. Contracts were traditionally inscribed on bamboo with knife markings as proof. Any tampering leads to loss of authenticity.

Finally, it critiques merchants ("Jiaren") who exhaust themselves for trivial gains. When people observe them straining after extraneous things yet remaining complacent, such behavior is deemed shameful. "Kuiran" describes steadfast composure, also implying leadership.

Note: Key Daoist terms like "Zhenjun" (the body's original spirit) and "Zhenzai" (the inner life-governing force) represent essential concepts in Daoist internal cultivation.

This passage primarily discusses Daoist philosophical perspectives on life and death, as well as the relationship between form and spirit (Xing-Shen), while incorporating some textual research on ancient terminology. Reorganized in contemporary language:

Zhuangzi posits that when a person's heart is filled with shame, their spirit (Shen) becomes scattered and unsettled (a state described as "careless compromise"). In this condition, one can hardly find peace within oneself, let alone interact harmoniously with others. The mentioned "Mo Ye" refers to the name of an ancient sword, used here metaphorically to illustrate the distinction between the essential natures of things.

Regarding views on mortality, the text states: When a person's Yang Qi disperses outward without returning ("emerges without reversing"), it attracts the gathering of Yin Qi ("Yin Qi comes to dwell")—this phenomenon is termed "seeing one's ghost." Death may appear as a form of attainment ("emerging to gain"), but its essence is actually dissolution ("this is called gaining death"). The Guangya dictionary explains "extinction" as complete termination—though the physical form may persist postmortem ("having substance"), its fundamental nature becomes indistinguishable from shadowy entities. The Daoist scripture Zhen'gao refers to such existences as "pure and ethereal, benign yet dissipated ghosts."

The passage also explores spatiotemporal concepts: "Yu" denotes the spatial dimensions of the four directions and vertical axes, while "Zhou" signifies the temporal continuum from ancient past to present future ("the coming of antiquity and going of today is called Zhou"). The birth and demise of phenomena resemble the gathering and scattering of Qi ("darkly coalescing to live, openly dispersing to die")—even seemingly discardable parts like the omasum (pi) of sacrificial oxen or phalangeal bones (gai) cannot be casually abandoned during major ceremonies like the La sacrifice.

Finally, it critiques the arrogance and willfulness ("haughty and unrestrained") of contemporary people ("present-day individuals"), comparing their superficiality to cicadas (tiao) and mountain finches (xue). These insights were originally missing from the Jiangnan ancient manuscript edition but have now been restored through textual research.

This passage provides phonetic and semantic annotations for certain terms in the Nanhua Zhenjing (the Zhuangzi), representing traditional exegetical literature. Here's a plain explanation:

Regarding the character "遇," the commentary notes its pronunciation as "切声柔貌" (qiè shēng róu mào), describing the sound one makes when startled into speechlessness. An alternative interpretation depicts the gentle, kindly countenance of an elder.

"辟金" is pronounced "必硕切" (bì shuò qiè), meaning to excise or remove. The "勃" in "虚无" is read as "必妹切" (bì mèi qiè), conveying error or deception. Some editions write it as "缪," pronounced "亡侯切" (wáng hóu qiè), indicating a state of bondage. The "超" in "去德" is read as "吕切" (lǚ qiè), expressing aversion to desires.

For the term "德性" (De nature), some versions write it as "德之光" (radiance of De). "犹睨" is pronounced "鱼计切" (yú jì qiè), meaning to glance sideways or peek.

In the "拙伪" section, "羿" is read as "五计切" (wǔ jì qiè), referring to the ancient divine archer Houyi. "俍" is pronounced "良" (liáng), which Cui's commentary explains as denoting a virtuous person.

"智笼" is interpreted as using wisdom to attract talent. Two examples are given: Tang of Shang won over Yi Yin by offering him a cook's position (Yi Yin carried a cauldron to meet Tang); Duke Mu of Qin redeemed Baili Xi with five ram skins (knowing Baili Xi's fondness for multicolored furs).

The "忘形同天" (forgetting form to unite with heaven) passage explains the mindset of exceptional individuals: those who have lost feet (介者) no longer care about appearances, having transcended worldly concerns. This detached mentality approaches the heavenly Dao. "复温" means repeated review, while "謵" indicates familiarity. The truly liberated remain unattached even to familiar things, achieving the state of "忘人" (forgetting others) where even insults provoke no reaction.

These annotations primarily elucidate pronunciation, meaning, and allusions to aid Zhuangzi study. They involve distinctively Daoist concepts like "虚无" (emptiness), "德性" (De nature), and "忘形" (forgetting form), all pointing to the Daoist pursuit of transcendental detachment and unity with the Dao.