《南華真經章句音義》Vol. 12

Xu Wugui was a hermit from the State of Wei who resided in Mount Min (located in present-day Henan). Nü Shang was a favored minister of Marquis Wu of Wei (personal name Ji). The text records how Marquis Wu, while rewarding his officials at Anyi (Wei's capital), particularly emphasized repaying those who contributed to mountain forest development.

Several scholars' annotations are preserved here: Sima Biao interprets "zhi" (直) as referring to evenly aligned horse teeth, while "qu" (曲) indicates a curved horse back; Cheng Xuanying explains "qu" as denoting the neck. The commentary also observes that human nature is inherently complete, requiring no forced instruction.

Various mental states are described: "ruo wang" (若忘) signifies self-oblivion; both "ruo xu" (若恤, where "xu" means distress) and "ruo shi" (若失) depict fearful agitation; "ruo sang" (若丧) refers to loss of self-awareness.

Key terms receive specialized explanations: "Liu Tao" (六弢) denotes Jiang Taigong's Six Secret Teachings military treatise, comprising sections on Civil, Military, Tiger, Leopard, Dragon and Canine strategies. "Yue zhi liuren" (越之流人) indicates exiled criminals from Yue State, while "xukong" (虚空) refers to abandoned tombs or deserted dwellings. Daily details include using goosefoot and knotweed to block pathways, and weasel-frequented trails.

Phonetic annotations meticulously record unusual readings: "qian" (掔) is noted with the "ku-tian" pronunciation, "chu" (黜) with "chi-lü" spelling, reflecting classical scholars' rigorous philological approach.

This passage contains ancient scholars' annotations and phonetic explanations of the Nanhua Zhenjing (i.e., Zhuangzi), primarily addressing character pronunciations, textual variants, and semantic clarifications. Let me explain these specialized annotations point by point:

Regarding the term "径道," Sima Biao's (an Eastern Han scholar) version writes it as "径道," meaning a pathway. The character "跟" is pronounced "liáng," indicating the desire to walk.

For the character "貌," Sima Biao's version uses "良," explained as "a virtuous person" or one who roams the void. "位其空" refers to dwelling in emptiness. When hearing human footsteps ("跫然" is read as "jù gōng qiè," the sound of feet touching the ground), one becomes joyful. Li Yi (a commentator) explains this as a metaphor for Marquis Wu of Wei lacking the virtue befitting a ruler yet occupying a defensive position. Though he may appear imposing in court, it is not his true nature—like a fugitive hearing footsteps, how could he not change expression and feel relieved with joy?

"謦欬" (pronounced "kǔ xiàng qiè" and "kǔ ài qiè") is explained by Li Yi as meaning speech and laughter. Simply hearing a beloved sound brings great joy, let alone the happiness born of familial bonds.

"食茅" is pronounced "xù," referring to vegetables like scallions and leeks. "以宾" appears in some versions as "擯" (pronounced "bì rèn qiè"), which Sima Biao interprets as "to discard," while Li Yi takes it as the guest's "宾." "干" is explained as seeking. "社稷之福" means that good words and strategies can benefit the state. "万乘" (pronounced "shéng zhèng qiè") is interpreted by Sima Biao as not self-affirming, i.e., selfish deceit. "奸病," according to a commentator surnamed Wang, refers to the ailment of wicked people who twist righteousness into evil.

"偃兵" means ceasing warfare. "鹤列" is explained by Li Yi as troops arrayed like cranes in flight; Sima Biao says it refers to bells and drums, while another interpretation suggests battle formations. "丽谯" (pronounced "zài xiāo qiè") is described by Sima Biao as the name of a tower, meaning an ornate, towering structure, though some interpret it as a watchtower. "徒骥" is explained by Sima Biao as infantry, while another reading takes it as cavalry. "锱坛" (pronounced "cè qí qiè") is the name of an altar, though some say it refers to a palace or battlefield.

"大隗" (pronounced "wáng zuì qiè") is an ancient Daoist adept. "具茨" (pronounced "bǎ zī qiè") appears in Sima Biao's version as "疚," the name of a mountain located east of Mi County in Yingyang, now called Mount Taiwei. "昌㝢" is pronounced "yǔ." "骖乘" (pronounced "shéng zhèng qiè") refers to the attendant on the right side of a chariot, while the driver sits on the left. "謵" is pronounced "xí," and "朋" in the version by commentator Cui is written as "㞔" (pronounced "shū shì qiè"), meaning the lead horses.

These annotations primarily aid readers in understanding difficult terms in Zhuangzi, including variant readings across editions, pronunciation guides, and semantic distinctions, reflecting the rigorous scholarship of ancient scholars.

This passage primarily provides ancient phonetic annotations and explanations for certain terms in the Nanhua Zhenjing (i.e., Zhuangzi). Let me clarify point by point:

Regarding the annotation of "Seven Sages": The Yellow Emperor traveled to the wilderness of Xiangcheng with six wise ministers (Fangming, Changyu, Zhangruo, Xipeng, Kunhun, and Guji). "Kunhun" is pronounced as "hun," and "Guji" as "gu ji." "Sima" refers to the commentator Sima Biao, who explains that "two people led the way on horseback" means two individuals rode ahead to clear the path, while "rear carriage" indicates two others followed behind the chariot. Xiangcheng is located in present-day Ruzhou, Henan, south of Mount Dawei.

On the pronunciation of "shao quan": It is read as "qi quan qie." Li Yi (another commentator) explains it means alleviating illness. "Qie fu" is pronounced as "fu you qie," indicating repetition or recurrence.

Regarding the "chariot of the sun": Sima Biao interprets this as a metaphor where the sun serves as a vehicle, symbolizing daily renewal and transformation. "The chariot itself represents constant movement and change" signifies that the vehicle embodies ceaseless motion and flux.

Annotations on "le you": "Le" is pronounced as "luo." "Observant scholars" refers to sharp-witted and discerning individuals, while "ling" denotes acts of mutual oppression and humiliation. "Sui" is pronounced as "xin," meaning to scold or reprimand. The Zhang Junfang edition writes it as "ling sui," referring to speech that delights in insulting and berating others.

Explanation of social divisions: Those who study to become officials are called "scholars" (shi), those who farm to produce grain are "peasants" (nong), those who craft tools are "artisans" (gong), and those who trade goods are "merchants" (shang) (some argue that seated vendors are called "gu"). The term "marketplace" (shijing) originates from ancient markets where people traded by wells.

On the extraordinary arts of "winter fires and summer ice": In winter, one could use decade-old dry ashes to kindle a fire, quickly heating a cauldron; in summer, boiling water poured into an earthen jar and sunk into a well could produce ice. These are two ancient recorded arts that defy conventional logic.

This passage presents several allegorical stories criticizing those who are self-righteous and stubbornly cling to their own views.

The first tale tells of a man from Qi who despised his own son, abandoning him in the state of Song while stationing guards to watch over him. This incomplete man considered himself correct, much like valuing a cheap son more than a precious bell. Such people resemble Hui Shi (a representative figure of the School of Names during the Warring States period), who strayed from the Dao yet loved debate—just as that Qi man alienated his son while favoring a bell.

The second story describes a Chu man who secretly boarded a ship at midnight and began fighting with the boatman before the vessel even left shore. Though harboring guilt, he argued forcefully—such absurdity while maintaining self-assurance.

The third account mentions an ancient master plasterer who worked wearing wide-collared robes with flowing sleeves, applying plaster overhead without staining his clothes. When a tiny speck once landed on his nose, he had the legendary craftsman Jiang Shi (Divine Artisan) swing an axe to remove it. This satirizes those who obsess over perfection.

The conclusion emphasizes that sages governing the people never act superior, and virtuous individuals never treat others with arrogance. While slight textual variations exist between the Jiangnan edition and older versions, both convey opposition to pride and complacency.

Note: The mentioned "Hui Shi" was a leading figure of the School of Names during the Warring States period; "Jiang Shi" refers to the mythically skilled carpenter; "Ying" was the capital of Chu. These stories originate from the Zhuangzi, using allegory to expound Daoist philosophy opposing stubborn opinions and advocating humble conduct.

This passage provides phonetic annotations and explanations for select terms from the Nanhua Zhenjing (the Zhuangzi scripture). Here are key interpretations in modern language:

Regarding the character "狙," its pronunciation is noted as "qī xú qiē," referring to King Fuchai of Wu (ruler of the Wu State during the Spring and Autumn period). The term "恂然" has two possible readings ("shùn" or "xún"). Sima Biao (a classical commentator) explains it as "haste," while Cheng Xuanying (Tang Dynasty Daoist scholar) interprets it as "fearful appearance."

The character "攫" is pronounced "jū fù qiē." The Sancang (ancient lexicon) defines it as "to seize and wrestle." "搔" reads "sù bào qiē," describing swift, nimble movements.

The text mentions Sunshu Ao (renowned chancellor of Chu during the Spring and Autumn period) holding a ritual wine vessel (jue). According to Zuo's Commentary, Sunshu Ao served under King Zhuang of Chu before Confucius' birth. Xiong Yiliao (a Chu warrior) mastered the "ball manipulation" (nongwan) skill—a juggling-like performance where rotating spheres symbolized handling state affairs as effortlessly as palm-top play. Similar techniques appear in Guiguzi's (Warring States strategist) records.

Cheng Xuanying explains the jue as a one-liter capacity vessel used in ancestral rites. The context describes ancient ceremonial toasts during sacrifices. Nongwan refers to rotating balls between hands—Yiliao employed this art as a metaphor for governing the world with the ease of juggling.

[Note: Technical terms like 恂然, 攫, and nongwan are preserved with phonetic and semantic explanations. Historical figures (Sunshu Ao, Yiliao) receive contextual background. The ritual wine vessel jue's capacity and ceremonial use are clarified.]

When the Chu official Bai Gong Sheng plotted rebellion and sought to kill Prime Ministers Zi Xi and Zi Qi, his advisor Shi Qi suggested: "In the southern city lives a man named Xiong Yiliao. Gaining his support would be worth five hundred soldiers." Bai Gong Sheng sent envoys, but Xiong Yiliao refused. Even when threatened with drawn swords, he remained unperturbed, focused solely on juggling his pellets, saying only: "Nor will I reveal your plans." Though Bai Gong Sheng ultimately killed the ministers, Xiong Yiliao never became entangled in the turmoil.

Later, when the warring Bai and Zi clans both sought Xiong Yiliao's support, the recluse lay peacefully with his head pillowed high, continuing to juggle pellets before their envoys. Undeterred by brandished blades, his composure remained unshaken. Upon hearing their reports, both clans' strategists interpreted: "His high pillow signifies we should practice Wuwei (non-action); his calm before swords shows force cannot be relied upon; his ceaseless pellet-juggling symbolizes mutual destruction through conflict." Thus both sides withdrew their forces.

The passage also references the famed Chu statesman Sunshu Ao (styled Ganqin, "Sweet Rest"), who governed through De (Virtue/Power) — his mere repose in the ancestral temple deterred enemy states. Just as Xiong Yiliao's pellet-juggling averted war, Sunshu Ao's moral influence repelled invaders across vast distances. The text employs the metaphor of a "three-foot beak" (loquacity): better to remain silent than wag a lengthy tongue. Such wisdom of Wuwei earned Confucius's (Zhongni) admiration.

(Note: "Pellet-juggling" [nongwan] refers to a Daoist cultivation method focusing the Shen (spirit) through rhythmic manipulation; "Wuwei" is the core Daoist principle of natural non-interference; "Ganqin" denotes Sunshu Ao's epithet for advocating governance through tranquil non-action.)

This passage conveys two main layers of meaning:

The first layer discusses the principle of "stopping." The commentator Sima states that chasing trivialities while deviating from the fundamental leads to endless words without attaining true realization. Following ancient methods without eroding their essence (here "摩" implies wearing away or diminishing)—as Guo Xiang annotates it as "polishing" while Wang Bi interprets it as "eliminating"—means adapting to contemporary affairs without losing one's innate nature. Even when addressing present matters, one should adhere to ancient principles. Throughout history, things of genuine value never have their reputation worn away.

The second layer recounts the story of the horse physiognomist Jiufang Yin (written as Jiufang Gao in the Huainanzi). The text mentions various ancient phonetic notations and variant characters, such as "牂" referring to a ewe, "宎" indicating the northeast corner of a house (some say southeast), and "鶉" representing the Star Bird among the southern Vermilion Bird constellations. These details reveal that ancient horse physiognomy involved observing celestial and terrestrial correspondences, emphasizing directional alignments. For instance, the southwest corresponds to the Earthly Branch "Wei," associated with sheep, while the northeast belongs to the Fire phase, linked to the Star Bird (some say the southeast "Chen" position, where Chen symbolizes the Star Bird).

Later, the passage mentions a wealthy Qi nobleman named Qu Gong, who served as a market official (街正) and purchased a position (possibly "梱") to delegate his duties, indulging in meat until death. Another interpretation suggests Qu Gong was a butcher who formed a ruler-subordinate relationship with "梱," sharing meat together—reflecting the social hierarchy of the time.

Finally, it criticizes the hypocrisy of superficial benevolence and righteousness: people proclaim these virtues while preying on each other like greedy beasts. Terms like "暖姝" describe self-righteousness, and "濡需" denotes a complacent, opportunistic state, illustrating how such false benevolence becomes a tool for the greedy to harm others. Like clouds obscuring the sun, this feigned morality veils true human nature.

This passage explores Daoist reflections on natural disposition versus artificial striving, employing vivid metaphors to illustrate how excessive pursuit of external things can harm one's inherent nature.

Even sage-kings like Shun, though ascending to the throne through successive trials, suffered physical emaciation and damage from overexertion. Just as the pungent odor of mutton attracts ants, deliberate pursuit of fame similarly draws troubles to oneself like mutton luring insects. Three animal analogies reveal this principle: ants perish in water, fish thrive in it, while sheep fall ill when wet—demonstrating how all things possess their distinct natural dispositions.

Those who truly attain the Dao (the Way) never strive artificially, just as odorless mutton won't attract ants. Fish swim freely without conscious pursuit—this embodies the natural Dao. Were sheep not to emit their characteristic scent, ants wouldn't gather—this exemplifies following nature's course.

The text then references medicinal herbs: aconite (for cold ailments), platycodon root (for abdominal stagnation), euryale seeds (extending life when combined with lotus seeds), and polyporus (resembling boar testicles, treating thirst). Like the natural progression of seasons, each herb serves its purpose in due time—a metaphor for all things finding their proper place through natural accordance.

Finally, King Goujian's armor and shields during his "sleeping on brushwood" ordeal demonstrate how even defensive tools must align with circumstances. The entire passage emphasizes the Daoist philosophy of harmonizing with nature and eliminating artificial striving.

This passage provides commentary and pronunciation guides for select chapters of the Nanhua Zhenjing (the Zhuangzi). It primarily examines two classical allusions:

Regarding the historical figure Wen Zhong (courtesy name Shaoqin), a minister of Yue State, the commentary notes that although he successfully helped Yue achieve vengeance, he ultimately failed to preserve his own life. Like how an owl's eyes are adapted for night vision but unsuited for daylight, or how a crane's legs are naturally long and cannot be shortened, Wen Zhong excelled at statecraft and national preservation but lacked skill in self-preservation.

The text discusses the principle of "relying on the source when proceeding forward": just as water flowing from its source remains unaffected by wind or sunlight, those who achieve cultivation of the Dao (the Way) maintain their fundamental nature even while dwelling in worldly affairs. The metaphor "one foot constantly unmoving" illustrates how unwavering focus enables distant travel.

The latter portion explains pronunciations and meanings of specific terms: "Xiehua" denotes disorder; "Yangque" refers to rough legal measures; the character "Jie" has multiple readings including "xie" and "jia mai." These annotations assist readers in comprehending obscure terms within the classical text.

(Note: The original commentary follows ancient exegetical format with extensive fanqie phonetic notations and citations. This modern interpretation primarily extracts the explanatory content while appropriately simplifying specialized phonological analysis.)