《南華真經章句音義》Vol. 13

This passage offers commentary and interpretation of the "Zeyang" chapter from the Miscellaneous Chapters of the Nanhua Zhenjing (also known as the Zhuangzi), composed by the Song dynasty Daoist master Bixuzi (Chen Jingyuan). The main content includes:

Annotations on historical figures: Zeyang (also named Peng Zeyang) was a native of Lu during the early Zhou dynasty who traveled among various feudal lords before seeking employment under King Wen of Chu. Yijie served as a Chu minister, while Wangguo was a Chu worthy (some sources identify him as a senior official). Gongyuexiu was a recluse living in seclusion.

Explanations of key terms: "Mountain thickets" (shanfan) refers to forest edges or dense woodlands; "deluded obsession" (dianming) describes a state of bewilderment, referring to those obsessed with currying favor among the powerful and chasing wealth. "Sunstroke" (ye) indicates heat exhaustion, while "warping" (nao) signifies distorting the proper way through honeyed words that mislead others.

Discussion of worldly conduct: Emphasizes taking humility as fundamental and aligning with natural spontaneity. All things follow their inherent patterns in growth and transformation ("returning to the mandate"), whereas artificial cleverness only brings anxiety. Truly wise people don't deliberately display their knowledge, just as naturally beautiful people don't require others to tell them they're attractive.

The text critiques those who employ clever schemes for personal gain, pointing out that such artificial striving ultimately creates entanglements. It advocates abandoning calculating minds and returning to natural authenticity, suggesting one needn't worry about lacking cleverness.

Phonetic annotations: Provides pronunciations for characters like "譚 (tan)," "閲 (yue)," and "橈 (nao)" to aid proper recitation of the scripture.

This passage explores the dynamics of human cognition and interaction, conveying a central Daoist insight:

Just as mirrors require mutual reflection to reveal beauty and flaws, our virtuous qualities often need others to recognize and reflect them back. Without someone pointing out your strengths, you might remain forever unaware of them.

The text references the ancient sage-king Ranxiang (a legendary ruler of high antiquity) and his approach to governance: He ruled through Wuwei (non-action), neither chasing fame nor forcing outcomes, but aligning with natural principles. The result was accomplishing great deeds without harming others or himself. This state resembles the seemingly ordinary yet profound wisdom of the "Gatekeeper Deng Heng" (an ancient official in charge of city gates).

Historical examples illustrate this principle:

• Rongcheng (said to be Laozi’s teacher) authored fourteen texts
• The conflicts between King Hui of Wei and King Wei of Qi (named Yin)
• Gongsun Yan serving as Wei’s "Rhinoceros Leader" (equivalent to Tiger-Tooth General)
• The general Tian Ji fleeing in fear
• The logician Hui Shi recommending the worthy Dai Jinren to the King of Wei

These cases all demonstrate that whether in governance or daily life, what matters is not forceful striving but natural manifestation, like a mirror’s reflection. The wise do not pursue fame deliberately; instead, they achieve through alignment with the Dao and Wuwei. When one forgets both self and external striving, true accomplishment follows effortlessly.

This passage primarily explains certain terms and allusions from the Nanhua Zhenjing (the Zhuangzi), which can be understood as an ancient commentary text in modern terms. Let me explain these annotations point by point:

Regarding the term "king snail," the commentator explains it refers to a snail (a soft-bodied mollusk with two antennae), commonly called a snail in folk language. Some interpret it as a small ox-spiral shell, colloquially known as "yellow calf."

The phrase "chasing north" is explained by the commentator as "retreating and fleeing toward the dark northern direction," which later extended to mean general defeat and retreat in battle.

The exclamation "yi" is pronounced similarly to "yu qi qie," expressing resentment or regret. The character "hao" refers to the sound of wind instruments or denotes chirping sounds.

Concerning "sword head," Sima Biao (one of the commentators) explains it as the ring-shaped ornament at the top of a sword hilt. Confucius's mention of "xue" describes a faint sound, like wind passing by.

In the "avoiding flatterers" section, "Ant Hill" is mentioned as the name of a mountain. "Zhi jiang" refers to wine-selling establishments. Regarding "ascending the pole," Sima Biao explains "pole" as the roof beam.

The term "sage servant" is interpreted by some as someone possessing sagely virtue yet willingly serving as a menial. Sima Biao's version writes it as "sage simplicity," meaning the sage maintains an unadorned nature. "Hiding by the field border" refers to living in seclusion while farming.

In the "cultivating form" section, "Tall Parasol" is mentioned as a place name, derived from the many parasol trees growing there. "Border official" refers to administrators of frontier regions. "Zi Lao" was Confucius's disciple Qin Lao.

The term "crude" is explained by commentators as careless, imprecise farming. "Severing weeds" refers to cutting wild grasses. Others interpret it as altering traditional farming methods.

"You" is a farming tool similar to a hoe, used for leveling fields. "Soaked rice" refers to rice steeped in water. Regarding "common practice," Wang Bi explains it as behavioral norms widely accepted by people.

These annotations primarily clarify difficult words, place names, and personal names in the Zhuangzi to aid understanding of the original text. By citing various scholars' interpretations, the commentators often provide multiple explanations for a single term, reflecting the "collective commentary" characteristic of ancient exegetical studies.

This passage contains annotations from the Nanhua Zhenjing (Zhuangzi), primarily explaining rare terms and historical allusions. Let me break it down section by section:

The description of illness symptoms mentions: When a person's Jing (essence) and Qi (vital energy) leak outward, symptoms like vomiting and diarrhea ("upper collapse and lower leakage") appear, similar to festering abscesses ("pustulent sores") or oozing scabies lesions. There's also mention of consumptive patients having frothy urine ("greasy discharge"), all resulting from excessive desires depleting one's vital energy—unlike the tangible harvest gained through diligent farming.

The "Wading Through Dust" chapter recounts how the virtuous Lu state scholar Bo Ju (a Daoist adept) sought to educate the people of Qi. "Condemned man" refers to executed criminals or corpses left exposed in streets. The scholar formally dressed in court robes ("court attire") to cover the remains ("covering" means to shroud), then cried out to heaven ("called to heaven") against such inhumane practices.

The "Following Things" section documents the deeds of the virtuous Wei minister Qu Boyu (given name Qiong, courtesy name Boyu). "Bending" conveys his humble, yielding character.

The "Inherent Stability" chapter mentions three historians: Da Tao, Bo Changqian, and Xi Wei. It describes historians recording oath contents ("among feudal lords") during alliance ceremonies. Particular attention is given to historian Shi Qiu (Shi Yu) using silk cloth ("cloth" refers to textiles) to cover himself while assisting bathing maidens ("supporting wings"). The conclusion references a certain ruler's ("duke") burial at Shaqiu (north of Mengjin), whose unworthy descendants ("his sons") led to the tomb's destruction ("seized and buried it"), with some versions reading "seized and occupied it," meaning the gravesite was appropriated.

These annotations primarily help readers understand obscure terms and historical contexts in the original text, demonstrating ancient scholars' meticulous approach to classical commentary.

This passage comes from the Nanhua Zhenjing Zhangju Yinyi, which primarily explains certain concepts and figures in the Zhuangzi. The text mentions that "Shaozhi" refers to someone with shallow knowledge and limited wisdom, while "Dagongdiao" describes a person of vast virtue (De) and impartial selflessness, capable of harmonizing all things—likely a fictional allegorical character created by Zhuangzi.

The text also clarifies ancient regional administrative divisions: one li (neighborhood) was equivalent to one well (jing), sixteen wells made up one qiu (mound). Four wells formed one yi (settlement), four settlements constituted one qiu, five households composed one lin (neighbor), and five neighbors formed one li. In ancient times, neighborhoods, wells, and settlements each had distinct customs, much like the varied traditions found in rural areas today.

Regarding the "five officials" (wuguan), some interpret them as ancient officials overseeing the Five Phases (Wuxing), while others believe they refer to the five ranks of feudal lords. The term "chunchun" describes a flowing, ever-changing state, also signifying impermanence. "Qiaoyun" refers to the principle of mutual succession and cyclical alternation among things.

Finally, the passage mentions two virtuous men of Qi: Jizhen and Jiezi. Jizhen advocated the Dao of non-action (Wuwei), while Jiezi promoted the Dao of action—each adhering to their own school of thought, yet neither represented a fully comprehensive theory.

In the annotations to the "External Things" (Waiwu) chapter, Wang Bi (Wang Yun) argues that those who truly forget the self do not oppose the world, ensuring external matters do not disturb the inner spirit (Shen). If one becomes fixated on deliberate action, it becomes difficult to attain profound subtlety. The so-called "normal state of external things" refers to concepts like good and evil, loyalty and filial piety. When the self is set in opposition to external things, excessive pursuit of virtuous reputation or fear of wicked conduct both harm life. Hence, Zhuangzi states, "In doing good, avoid fame; in doing evil, avoid punishment." The text also references the misfortunes of loyal ministers like Long Feng and Bi Gan, already explained in the "Human World" (Renjianshi) chapter, while Jizi's feigned madness is recorded in the Records of the Grand Historian (Shiji).

This passage recounts several historical accounts of loyal ministers and their tragic fates, along with explanations of ancient characters' pronunciations and meanings.

Jizi, a virtuous minister of the Shang dynasty, witnessed King Zhou's debauchery and repeatedly remonstrated without success. When advised to leave, Jizi replied that as a minister, abandoning his ruler simply because advice went unheeded would only expose the sovereign's faults while seeking personal fame—something he couldn't bear to do. He then let his hair loose, feigned madness, and lived in seclusion as a slave, playing the zither to lament his sorrows, leaving behind the legendary "Melody of Jizi."

The text also mentions Elai (King Zhou's favorite minister) and his father Feilian (a mighty runner), both of whom served the tyrant with their talents and were executed together when King Wu overthrew the Shang. Chang Hong, a loyal minister to King Ling of Zhou, was framed by Duke Gong of Liu. Exiled to Shu, he committed suicide in anguish by cutting open his abdomen. The Shu people, pitying him, preserved his blood, which three years later transformed into green jade.

Other accounts include Xiaoji (Crown Prince of Shang Gaozong), who died of grief after persecution by his stepmother, and Zeng Shen (a disciple of Confucius), who nearly starved despite his filial piety due to his father's inexplicable hatred.

The concluding section provides phonetic and semantic annotations for ancient characters:

• "螴蜳" (pronounced "zhòng róng") describes a state of fearful unease
• "慰愍" denotes melancholy and distress
• "沉屯" signifies profound hardship
• The character "贷" has different readings and meanings (to borrow versus to lend)
• "鮒鱼" refers to crucian carp
• "波臣" indicates wandering ministers

These contents blend historical narratives with philological analysis, reflecting both the tribulations of ancient loyalists and the evolution of Chinese characters' sounds and meanings.

This passage provides annotations and phonetic explanations for certain sections of the Nanhua Zhenjing (the Zhuangzi), focusing on geographical terms and the pronunciation and meaning of specialized vocabulary. Here's a simplified interpretation:

The "Western River" mentioned refers to the Shu River (a section of the Yangtze in Sichuan) flowing from the west. In the phrase "I have lost my constant companion," the character "与" (yu) means intimacy, just as fish and water are naturally inseparable. "卑索" (pronounced "suo bai qie") refers to dried fish.

In "Lord Ren," the character "任" (Ren) denotes a state name, here referring to fishing with an enormous hook (some texts write it as "hook") and thick black rope. The character "犗" (pronounced "gu mai qie") means a castrated ox, specifically one with a prominent hump. "餌" (pronounced "er") means fish bait; "蹲" (pronounced "cun") means to squat.

"Kuaiji" is a mountain name, now a prefecture. "期年" (also written as "期," pronounced "ji") means it must take a long time to show results. "錎没" (pronounced "xian") describes fish leaping up in alarm (some versions write it as "惊奋"). "鬐" (pronounced "qiu yi qie") refers to fish fins.

"若鱼" has been interpreted by some as the name of a large fish, by others as a sea deity, or as a general term for such fish. "腊" (pronounced "xi") means salted fish. The "Zhe River" is today's Qiantang River, marking the boundary between Wu and Kuaiji.

"Cangwu" likely refers to mountains in Lingnan, though some identify it as Jiuyi Mountain. "輇" (pronounced "cai jin qie") means assessing talent; some versions write it as "軨" to indicate smallness. "灌渎" refers to irrigation ditches. "鯢鮒" both denote small fish.

The final section notes that "臚" (pronounced "li yu qie") refers to superiors issuing commands to subordinates. "The east grows bright" means the sun is about to rise. "裙襦" is pronounced "er zhu qie." "Green, green the wheat" is a line from lost poetry satirizing the dead. "陵陂" is pronounced "bi yi qie." "布施" (pronounced "shi chi qie") means to distribute. "压" (pronounced "nai xie qie") means to press with fingers. "顪" (also written as "哕") refers to the beard on the chin.

This passage discusses two main themes: the first part explores Daoist attitudes toward life through the story of Lao Laizi, while the latter recounts the anecdote of Lord Yuanyuan of Song's prophetic dream.

The narrative begins with Lao Laizi, a renowned hermit of Chu who dwelled in Mount Mengshan. Despite repeated summons from the King of Chu, he refused official appointment, eventually fleeing south of the Yangtze with his wife to live as a woodcutter. The text depicts him with hunched posture and flattened ears—an outward appearance of laborious toil that actually conceals his preservation of natural authenticity. Through this example, the author observes that even sage-kings like Yao and Shun inevitably exhaust themselves like "soaring dragons" or stooped laborers, while paragons like the Duke of Zhou and Confucius scurry about like harried hounds, all manifestations of straying from one's innate nature.

The discussion then turns to moral cultivation. When questioned whether one should actively promote benevolence and righteousness, the author argues that forced displays of wisdom or contrived virtue resemble hesitant, indecisive action—even if successful, they leave harmful residues. The sage accomplishes things with effortless ease (Wuwei), succeeding naturally without clinging to results. Persistent self-conscious virtue-signaling, conversely, breeds lasting misfortune.

The latter section recounts the strange dream of Lord Yuanyuan of Song (personal name Zuo), who envisioned a figure standing near Slaughter Road Abyss—a deep pool where turtles dwell—beneath the curved eaves of his palace gate. This proved prophetic when a fisherman named Yu Ju caught a divine turtle at Quanyang. The diviner Wei Ping performed seventy-two plastromancy rituals (an ancient practice of drilling and heating turtle shells to interpret cracks), each prognostication proving accurate. This anecdote illustrates how events bear omens, resonating with the Daoist concept of "observing the patterns of Heaven."

This passage elucidates key terminology and concepts from Daoist scriptures, organized into several sections:

The first part explains calendrical calculations: The number seventy-two serves as the foundational unit. Five such units form one cycle (360), with seven hundred twenty as the base for calculations, seven thousand two hundred as the standard for comprehensive reckoning, and seven hundred twenty thousand as the universal rule. In computing solar terms and lunar phases, all remainders must be fully incorporated. Seventy-two million is termed the "Epochal Reckoning" (yuanji), representing the highest unit of calculation. ("Pelican" is an alternative name for waterfowl, also called "river-scooper.")

Next, it clarifies pronunciation and meanings of several terms: "Stone Master" (shishi) refers to learning without a formal teacher, taking nature itself as instructor; "the usefulness of the useless" denotes the true value of seemingly functionless things; "standing on the foot's edge" (cezu) describes balancing on the side of the foot; "sinking" (dian) conveys descending all the way from the foot's edge to the Yellow Springs of the underworld.

The passage then defines "flowing drift" (liudun) as a state of unchecked wandering. The ancient ruler Xiwei's governance exemplified not following such drifting currents. The "internal connection" (neitong) section discusses bodily awareness: One must carefully observe Qi (vital energy) circulation, clearing throat blockages when they occur, recognizing the womb as life's inner sac. "Domestic strife" (boxi) refers to internal conflict—when living quarters lack private space, discord arises.

Finally, it explains tools and states: "Six chisels" (liuzao) describe sensory organs interfering with each other; the effect of dense mountain forests on humans; "firewood fence" (chai) being a hedge made of scattered wood; "paring knife" (diao) as a cutting tool and "hoe" (nou) as a farming implement resembling a hoe. These explanations combine philological analysis with Daoist insights into the relationship between nature and the human body.

This passage primarily provides phonetic annotations and etymological analysis of certain terms from the Nanhua Zhenjing (i.e., Zhuangzi), including pronunciation guides and character interpretations.

Regarding the term "值立," Sima Biao's commentary explains it as "鉏拔反之更生者曰到植眥," meaning that replanting an uprooted plant is called "倒植" (inverted planting). The character "揃" has multiple readings and interpretations: some editions write it as "揃" (pronounced ziqian qie), with the Sancang glossing it as "翦" (to trim); other editions use "搣" (pronounced mie), with the Zilin defining it as "批" (to stir with the hand), while Shi Chong's Zangjing Yinyi states it means to pluck by hand.

The text mentions "可以沐老老则目角皮皱也," referring to how elderly people develop wrinkles at the corners of their eyes, and that massaging them can smooth the wrinkles and preserve one's appearance. "赤宅" refers to a ruddy complexion, with some editions writing it as "休老" (meaning to nourish aging).

"佚" is pronounced yi, and "駴" is pronounced hukai qie. Wang Bi interprets it as altering the people's perceptions, while Xu Miao reads it as jie, meaning the ruler does not consult his subordinates.

"演门" might be the name of a gate in the state of Song, though some say it is a place in Chu. "官师" is an official title in Chu. "务光" and "纪他" are figures mentioned in the Dazongshi chapter, and "踆" is an archaic character equivalent to "蹲" (to squat). "窾水" is the name of a river. "申徒狄" is another figure from the Dazongshi chapter, with "踣" pronounced fu, meaning to fall or collapse.

"荃" (pronounced qiquan qie) is a fragrant herb; Cui Zhuan reads it as sun, noting it can be used for fishing, while others interpret it as piling up firewood in water to gather fish. "蹏" refers to nets or traps for catching rabbits, "罥" means hanging nets, and "弶" denotes mechanical traps for birds and beasts. "得夫" is pronounced yinfu.