《南華真經章句音義》Vol. 14

This passage contains annotations by the Song Dynasty Daoist master Bixuzi on the "Fables" chapter of the Nanhua Zhenjing (the Zhuangzi), primarily explaining the meanings and pronunciations of key terms. Let me elaborate point by point:

Regarding the explanation of "fables" (寓言): Zhuangzi speaks his own words through the mouths of others, with nine out of ten statements being convincing. "Weighty words" (重言) refer to the sayings of highly virtuous and respected individuals.

"Goblet words" (卮言, where 卮 is an ancient wine vessel) are like a wine vessel—when full it tilts, when empty it leans back, and only when half-full is it most stable. This metaphor illustrates that speech should be just right, like the sun slanting at dawn, brightest at noon, and declining again past midday. Thus "goblet words emerge daily" means selecting balanced and clear statements.

"Natural divisions" (天倪) refers to the boundaries inherent in nature. "Borrow" (藉) means to utilize, while "mediator" (子媒) indicates the medium that facilitates things. "Elders" (耆艾) denotes venerable seniors of high virtue.

"Warp" (经) is the vertical foundation thread, and "woof" (纬) the horizontal supplementary thread—here using the weaving metaphor to represent the root of Dao-De (道德) and the manifestation of humaneness-righteousness (仁义). "Seasoned person" (陈人) means someone with rich experience, while "spreading endlessly" (曼衍) describes continuous extension.

The text also explains measurement units: a fu (釜) equals six dou and four sheng, while a zhong (钟) equals six hu and four dou. The contrast between birds and mosquitoes illustrates the vast difference between "three fu" and "three thousand zhong" in quantity.

Finally, the concept of "spontaneous transformation" (独化) describes the natural state of all things' changes. "Summarizing key points" (括撮) means condensing essentials, while "loose hair" (被发) refers to wearing hair untied (the attire of ancient recluses).

These annotations primarily help readers understand the special terminology, pronunciations, and metaphorical techniques in the Zhuangzi, embodying the Daoist ideals of honoring nature and pursuing the Middle Way.

This passage primarily provides annotations and pronunciation guides for select chapters of the Nanhua Zhenjing (the Zhuangzi). Let me explain each point in detail:

Regarding the term "叟叟," some versions write it as "搜搜," which can be pronounced either as "su kou qie" or as "xiao." Xiang Xiu (a Jin Dynasty scholar) explains this word as describing the manner of movement.

"蜩甲" refers to a cicada's molted shell, which Sima Biao (a Han Dynasty scholar) interprets as the shed skin of a cicada. The pronunciation of "蛇蜕" has two variants: "yue" and "tu wo qie."

The person named "阳子居" has the surname Yang, given name Rong, and courtesy name Ziju. The "沛" in "之沛" is pronounced as "bei." Cheng Xuanying (a Tang Dynasty Daoist) explains this as referring to Pengcheng, present-day Xuzhou region.

"盥" means washing hands, while "漱" refers to rinsing the mouth. "巾栉" is the general term for combs, and "屨" simply means shoes. "睢睢" describes the appearance of looking upward, while "盱盱" means opening one's eyes wide.

"伯昏瞀人" was a recluse and virtuous man from the state of Chu, whom Liezi once took as his teacher. "十浆" refers to ten beverage shops, while "五浆" indicates that five of them voluntarily sent drinks.

Regarding the term "形谍," Guo Xiang (a Jin Dynasty metaphysician) interprets it as being skilled in social interactions. Sima Biao states that when inner cultivation reaches a certain level, outward radiance naturally manifests.

"万乘" denotes the ruler of a major state possessing ten thousand war chariots. "敦杖" is pronounced as "dun," and "蹙" is read as "zi liu qie."

These annotations primarily address character pronunciations, lexical explanations, and contextual backgrounds of figures, serving as commentaries by ancient scholars to aid readers in understanding the Zhuangzi. They incorporate interpretations from several renowned commentators including Xiang Xiu, Sima Biao, Guo Xiang, and Cheng Xuanying.

This passage presents two allegorical tales illustrating scholarly disputes and human frailties.

The first story recounts a Confucian scholar named Huan from the state of Zheng, during a time when both Confucianism and Mohism flourished. Huan wished for his younger brother Di to study Mohist teachings, hoping to gain its benefits. He devoted himself daily to reciting texts (the term "shenyin" refers to the sound of chanting study materials), and after three years of rigorous study in Qiu-shi (a place likely renowned for Confucian learning, as "qiu" signifies scholars' robes), he finally became a Confucian scholar. Yet when his brother Di became a Mohist instead, Huan grew resentful—much like a well-digger who boasts of his labor while forgetting that the spring's water flows naturally.

The second tale mentions two likely fictional figures, Zhuang Man and Zhi Liyi, who squandered their family's wealth of a thousand gold pieces to master the art of "slaying dragons" ("tudan" here symbolizes the pursuit of impractical knowledge). Zhuangzi uses this to satirize those who chase useless erudition.

The text also warns that "petty words" (minor disputes) act like poison, breeding calamity. If people neither dare to speak truthfully to one another nor awaken to self-awareness, how can mutual understanding arise? The estrangement between Huan and his brother—marked by both lack of communication and mutual bitterness—exemplifies this.

These stories collectively reveal how fixation on sectarian rivalries, vain reputations, or futile arts contradicts genuine Virtue (De). True wisdom lies in comprehending natural principles without being misled by superficial appearances.

This passage provides annotations for the Nanhua Zhenjing (i.e., Zhuangzi), offering phonetic notations and explanations for obscure characters in the original text. Below are the detailed clarifications:

Regarding the character "贾," some editions write it as "价," while others use "产." The phrase "技成其绮" is pronounced "qiē," meaning contrary to common principles.

The "顺" in "顺于兵" is written as "慎" in some editions. "敝浅" refers to people with shallow understanding. "小夫" denotes ordinary, mundane individuals. "苞苴" is pronounced "zǐ yú qiē," and Sima Biao (a commentator) explains it as wrapped items. "竿" is pronounced "gān," and "牍" is pronounced "dú." Sima Biao states that these refer to correspondence written on bamboo slips to foster relationships. Cheng Xuanying (another commentator) interprets "苞苴" as fragrant herbs. Picking aromatic plants as gifts and exchanging bamboo-slip letters are not the actions of a true gentleman; they merely exhaust the spirit (Shen) and bend to worldly customs.

"滥进" refers to the petty man Cao Shang from Song. The "使" in "使秦" is pronounced "wěi qiē." Sima Biao identifies "宋王" as King Yan of Song. "乘" is pronounced "shéng zhèng qiē." "阨巷" is pronounced "yú xiè qiē," meaning hardship. "槁" is pronounced "kǔ lǎo qiē," and Li Yi (a commentator) explains it as an emaciated appearance. "黄馘" is pronounced "gǔ huò qiē," and Sima Biao describes it as a sallow complexion. "从车" is pronounced "cái yòng qiē," meaning accompanying carriages. Sima Biao identifies "秦王" as King Hui of Qin. "痤" is pronounced "zǔ hé qiē," referring to boils. "舐" is pronounced "shí zhǐ qiē," and "痔" is pronounced "zhì jì qiē."

In "观迹," "瘳" is pronounced "chì yóu qiē," and "圾" is pronounced "yú jí qiē," meaning perilous. Using ornate language to prop up the main argument, embellishing phrases and piling up flowery expressions, fragments the core meaning. In "汝与予颐与," both instances of "与" are pronounced "dǎng yǔ zhī yǔ." "予" is pronounced "chuí yǔ zhī yǔ." "离实" is pronounced "lì zhì qiē." "施" is pronounced "shǐ chì qiē." "商贾" is pronounced "gǔ." Wang Bi (a commentator) says "宵人" refers to unprincipled individuals, akin to villains under the cover of night. "讯" is pronounced "xìn," meaning to inquire.

In "察行," "貌愿" is pronounced "yuàn," and the Guangya defines it as cautious and honest. "有长" is pronounced "dīng zhàng qiē," meaning someone who appears elder-like externally but lacks such qualities internally. "有顺" is written as "㥧" in some editions; the ancient pronunciation of "顺" was "shū rùn qiē," meaning reasonable. Wang Bi's edition and the Jiangnan ancient manuscript both write it as "慎," while some versions use "循." "懁" is pronounced "huán," and the Sancang explains it as impatience. Wang Bi describes it as skilled in debate. Outwardly cautious and eloquent, yet inwardly simple and taciturn. "縵" is pronounced "bàn qiē," and Li Yi interprets it as firm inside but gentle outside. "釬" is pronounced "hú dàn qiē," also read as "gān," meaning impetuous. Another interpretation refers to inconsistency between appearance and reality. "卒然" is pronounced "cùn hū qiē," meaning sudden emergence of principles. Some editions write it as "侧," though the meaning is unclear.

This passage primarily explains several allusions and terms from the Nanhua Zhenjing (the Daoist name for the Zhuangzi) in modern language:

Regarding the background of the figure "Zheng Kaofu": He was a distant descendant of Duke Min of Song, the great-grandson of Fu Fuhe, and thus the eighteenth-generation ancestor of Confucius, serving as a high official in the state of Song. The text describes his humble postures upon receiving three appointments: bowing at the first appointment, bending even lower at the second, and nearly crawling on the ground at the third. Here he is compared to ancient sages like Emperor Yao and Xu You who valued humility.

Explanation of the term "must attain": There are eight extremes of poverty and three inevitable manifestations of success. Punishments have six gathering methods (府 meaning "gathering"). The text cites several special types of people: those with beautiful beards, hunchbacks, and those with protruding breastbones—though seemingly useless, all found their proper ways of survival.

The allusion to "stealing emolument": During the reign of King Xiang of Song, an ordinary man gained ten chariots and horses through flattery, becoming arrogant and pushing Zhuangzi behind him. There's also the story of weaving reed baskets for sale and the legend of the black dragon (Li Long) hiding a precious pearl under its chin.

The "joy in life" section mentions: someone wearing splendid robes, bringing letters of appointment and gifts to recruit worthy men, using hay and beans as offerings.

"Regulating burial" explains: pearls and gems can adorn the coffins of nobles, painted with cinnabar. Here "sand" means "cinnabar."

These annotations mainly derive from commentaries by ancient scholars like Guo Xiang and Cheng Xuanying, helping readers understand the more obscure words and allusions in the original Zhuangzi text.

This passage elucidates key terms and concepts from the Nanhua Zhenjing (Classic of Southern Florescence), covering funeral rites, Mohist school doctrines, and Daoist figures.

Regarding burial customs: Ancient aristocrats decorated coffins with colors corresponding to the four seasons—the left side painted with a blue dragon (Qinglong), the right with a white tiger (Baihu), and the top adorned with gold and silver motifs of the sun and moon. The coffin was further embellished with jade burial suits, pearls, and bi-discs, while cinnabar (considered apotropaic in Daoism) was applied ritually. Round pearls were called "zhu," while irregularly shaped ones were termed "ji."

Several notable figures are mentioned: Xiangli Qin (surname Xiangli, given name Qin), Ku Huo, and Ji Chi were prominent Mohist scholars. The Mohists referred to their master practitioners as "Juzi" (Grand Masters), analogous to the Confucian "Shuoru" (Eminent Scholars). The text also cites Song Jian (a Song state scholar who authored eighteen works on Huang-Lao thought) and Yin Wen (active during King Xuan of Qi's reign, with two treatises)—both associated with the Jixia Academy.

A distinctive reference is made to the "Huashan crown": Modeling Mount Hua's symmetrical, plateau-like summit, some fashioned hats in this shape to symbolize inner equilibrium and impartiality—embodying the Daoist pursuit of natural balance.

On governance, it advocates first distinguishing good from evil while showing leniency toward unintentional faults. Establishing systems of "name and ritual" (mingjiao) to order human affairs and harmonize relationships among all things. It stresses ruler-subject harmony: when rulers (above) govern through De (Virtue), the people (below) follow willingly. The text rejects coercive didacticism and verbose moralizing.

Finally, it critiques affectations like "deliberate haughtiness" (butu'ao) and "hyper-scrutiny" (kecha), reflecting core Daoist principles of wuwei (non-action) and opposition to artificial posturing—championing instead spontaneous naturalness.

This passage primarily provides explanations and phonetic annotations for challenging terms in the Nanhua Zhenjing (the Zhuangzi), while also mentioning several Daoist figures. Let me explain each item in detail:

Regarding the term "不党" (not partial), some editions write it as "当" (appropriate), while Cui Zhuan's version uses "党" (faction). The meaning conveys absolute impartiality without favoritism. The text then lists three philosophers from the state of Qi: Peng Meng, Tian Pian (where "骈" is phonetically noted as "薄田切"), and Shen Dao (whose given name was Guang, from the state of Zhao).

[Note: The phonetic notation "薄田切" refers to the traditional fanqie method of indicating pronunciation by combining two characters - here suggesting the "pian" reading. The passage continues with historical context about these figures, maintaining the original's scholarly tone while clarifying specialized terminology.]

This passage primarily contains phonetic annotations and semantic explanations for certain terms in the Nanhua Zhenjing (i.e., Zhuangzi), along with some critical commentary. Let me break it down section by section:

The segment "苦兮切之垢音苟巋然去軌切成云獨立之" provides phonetic notations—indicating that the character "垢" should be pronounced like "苟," while "巋" in "巋然" follows the qüguǐqiè (去轨切) rhyming method. The subsequent mention of "独立" (standing alone) suggests that although this state hasn't reached the ultimate realm, it is already considered highly advanced. The Jiangnan Guzang manuscript interprets this as referring to Laozi's (Laojun) method of teaching through words—a rudimentary approach, not yet the most refined state. The deepest truths, in fact, cannot be fully expressed through language.

Next are annotations on specific terms in Zhuangzi:

• "芒乎": "芒" is pronounced mògāngqiè (莫刚切).
• "谬悠" describes a state of transcending worldly concerns and relinquishing emotional attachments; some interpret it as "虚关" (the gate of emptiness).
• "荒唐" depicts a boundless, expansive realm, also explained as "孟浪" (unrestrained freedom).
• "不傥" means not striving for eccentricity but adhering to natural order.
• "觭" is read as "羈," implying non-deliberate pursuit.
• "卮言" (spontaneous discourse): "卮" is pronounced "支."
• "敖倪" (arrogant demeanor): "倪" is read as "诣."

Further annotations include:

• "不谴": "谴" is pronounced qiǎnzhànqiè (遣战切).
• "玮" is read yúguǐqiè (于鬼切), meaning "unconventional."
• "连犿" is pronounced "藩," signifying harmony with all things without contradiction.
• "諔诡" (extraordinary and sublime): "諔" is chǐshūqiè (尺叔切), and "诡" is jiǔwěiqiè (九委切).

The final section critiques Hui Shi (a representative of the School of Names):

It states that Hui Shi's knowledge was vast ("多方"), though older texts lack detailed records. His innovative theories are documented in annotations to relevant chapters. While his erudition ("五车," meaning "five cartloads of books") was impressive, some of his ideas were contradictory ("舛驳"). His debates ("晓辩") were sharp but occasionally overly pedantic ("不蹍凿枘," implying impracticality). The text also mentions figures who debated Hui Shi, such as Huang Liao (a virtuous scholar), and suggests that the character "蚊" might refer to trivial arguments.

These annotations primarily aid readers in correctly understanding obscure terms in Zhuangzi, reflecting classical scholars' meticulous study of this foundational text. The emphasis on truths beyond language embodies the Daoist principle of "attaining the meaning and forgetting the words" (得意忘言).

This passage discusses certain perspectives in the commentary tradition of the Zhuangzi. It begins by explaining the pronunciation and meaning of the term "文蝱": "蝱" is read as "Menggeng qie" (a traditional Chinese pronunciation notation), while "駘" is read as "dai," signifying a wild, unrestrained quality that misses the essential point.

The author marvels at how Guo Xiang (the renowned Zhuangzi commentator) truly grasped the core of Zhuangzi's philosophy. During his lifetime, Guo criticized the shallow discourse of the wealthy and powerful, and in his later years, the author similarly witnessed the baseless claims of contemporary elites, lamenting how this phenomenon remains unchanged across eras.

A question is raised: When Zhuangzi and Hui Shi (his philosophical rival) happily conversed while observing fish at the Hao River, why did Zhuangzi—despite Hui Shi's reputation as a master craftsman of Ying (a famed artisan of Chu)—describe his doctrines, though filling five cartloads of texts, as missing the mark? Was their intellectual rapport akin to craftsmen collaborating yet still critiquing each other's work?

The response clarifies: To rescue people from delusion and elucidate profound truths, how can one not skillfully employ language and make full use of metaphor? Zhuangzi disseminated his ideas through seven pivotal essays (referring to the Inner Chapters of the Zhuangzi), writings that would endure for millennia. While discussing metaphysical principles emphasizes debate, teaching cannot be empty rhetoric. Zhuangzi's texts may appear easy to read, yet their deeper meaning proves elusive. To prevent superficial interpretations from leading to misunderstanding, he deliberately used Hui Shi's dialectics as an illustrative case.