《南華真經章句音義》Vol. 2

This passage is a commentary on the "Discussion on Making All Things Equal" chapter from the Zhuangzi (also known as Nanhua Zhenjing), composed by the Song Dynasty Daoist master Bixuzi (Chen Jingyuan). It provides phonetic and semantic explanations of key terms:

Nan Guo Ziqi (a nobleman of Chu state and half-brother of King Zhao of Chu) was a Dao-realized person who lived south of the city wall, hence called "Nan Guo" (Southern Wall). Leaning on his armrest table (an ancient low desk), he exhaled deeply, demonstrating a state of complete physical and mental relaxation where form and spirit were forgotten. The term "ou" (counterpart) refers to the paired relationship between body and spirit—what is called "sang ou" (losing one's counterpart) means transcending the distinction between physical form and spiritual essence.

Yan Cheng Ziyou (personal name Yan Yan, posthumous title "Cheng", courtesy name Ziyou) was Nan Guo Ziqi's disciple. "Ren lai" (human pipes) denotes music from xiao flutes, which legend says were invented by Emperor Shun and shaped like phoenix wings with multiple bamboo pipes. "Lai" originally signifies the totality of sounds, hence the distinctions between "di lai" (sounds from earthly cavities) and "tian lai" (the harmonious unity of natural sounds).

"Da kuai" (the Great Mass) refers to the undifferentiated primordial Qi. When it exhales, roaring sounds emerge through countless apertures. "Liu liu" describes the howling of long winds. As wind passes through various openings, different sounds arise: some like nasal breathing, others like mouth sounds, some resembling bracket sets (architectural elements), others like fences, and still others like mortar pits.

These explanations aid readers in comprehending Zhuangzi's profound analogies about natural sounds and spiritual cultivation, revealing the Daoist perspective on observing natural phenomena and mental states. The commentary particularly illuminates how physiological and architectural metaphors convey the interplay between cosmic breath (Qi) and auditory manifestations.

This passage provides phonetic annotations and explanations for various onomatopoeic and descriptive terms from the Nanhua Zhenjing (i.e., Zhuangzi), presented in modern language:

The character 洼 has two pronunciations (wūxié qiē/wūwā qiē). Sima Biao (a commentator) explains it as describing a curved, sunken shape. The character 污 is pronounced "wū," which Sima Biao interprets as meaning "low-lying."

The character 激 is read as "jīnglì qiē," resembling the sound of rushing water. The pronunciation gǔdiào qiē, according to Sima Biao, denotes a calling-like sound. 謞 is pronounced "xiào" (lǐxūjiāo qiē). Emperor Jianwen (Xiao Gang) describes it as the sound of an arrow leaving the bowstring, while Sima Biao interprets it as clamorous and cunning sounds.

叱 is read as "chāngshí qiē," explained by Sima Biao as a scolding sound. 吸 is pronounced "xǔjí qiē," representing the sound of breathing. 叫 is read as "gǔdiào qiē," meaning a shouting sound. 譹 is pronounced "háo," indicating wailing cries.

宎 is read as "yúyáo qiē" (also pronounced "yǎo"). Sima Biao describes it as conveying a sense of profound depth. 咬 is pronounced "yújiāo qiē" (also read as "jiǎo"), expressing mournful sounds. In 唱于, "于" retains its original pronunciation, while 喁 is read as "wǔgōng qiē" (also "yú"). Li Yi explains this as describing sounds responding to each other.

In 泠风 (gentle breeze), 泠 is pronounced "líng." 飘风 (whirlwind) is read as "bíyáo qiē," which Sima Biao describes as a swift wind, while the Erya dictionary defines it as a swirling wind. 厉风 (strong wind) is called "violent wind" by Sima Biao. 济 is read as "zǐxì qiē," which Xiang Xiu interprets as meaning "to cease." Both 调调 and 刁刁 are pronounced "tiáo" and "dūyáo qiē," explained by Xiang Xiu as depicting swaying movements.

In 比竹 (panpipes), 比 is read as "pízhì qiē" or "bìlǚ qiē." Guo Xiang (who advocated spontaneous attainment) uses this to describe a state of natural harmony. 大智 (great wisdom) 闲闲 (read as "héjiān qiē") conveys effortless ease, while 小智 (petty wisdom) 閒閒 (read as "gǔxiàn qiē") suggests nitpicking. 炎炎 (read as "yúlián qiē") describes something intense or magnificent.

詹詹 (read as "zhān") is explained by Li Yi as trivial arguments. The Cui Zhuan version writes it as 閻閻, referring to the spiritual union in sleep (a state of yin closure). Upon waking (read as "gǔxiào qiē"), the physical form expands (a state of yang opening). Contact with worldly affairs creates entanglements; joy appears diffuse (縵 read as "mòdàn qiē"), while deep scheming hides like a cellar (read as "gǔxiào qiē").

Minor fears cause uneasiness (read as "zhīruì qiē"), and excessive diffuseness (縵縵) leads to loss of one's true nature. 机栝 (read as "gǔhuó qiē") refers to a crossbow's trigger and arrow nock. 詛 (read as "cèjù qiē") means cursing, while 盟 (read as "míng") denotes oaths. 其杀 (read as "sèjiè qiē") indicates decline, and 其溺 (read as "núdí qiē") signifies drowning in attachments.

This passage primarily elucidates certain challenging terms and concepts from the Nanhua Zhenjing (Classic of the Perfected Nanhua), covering aspects of human anatomy and the essentials of life cultivation.

Regarding human anatomy: The "five viscera" (wuzang) refer to the heart, lungs, liver, spleen, and kidneys; the "six bowels" (liufu) include the large intestine, small intestine, bladder, and the "triple burner" (sanjiao, an ancient Chinese medical concept denoting the three energy regions of the upper, middle, and lower body). Ancient scholars believed the human body contained nine repositories of Qi (vital energy): the Qi of the head corresponds to Heaven, the Qi of the ears and eyes to Humanity, and the Qi of the mouth and teeth to Earth. Each of these three divisions further encompasses the threefold energies of Heaven, Humanity, and Earth, totaling nine repositories. Earlier texts mention "six repositories" because the kidneys were divided into left and right—the right kidney being called the "Gate of Life" (mingmen), the seat of the spirit (Shen). In men, it stores essence (Jing), while in women, it anchors the womb, with its Qi connecting to the kidneys.

Concerning the Dao of life cultivation: The text refers to the "True Ruler" (zhenzai, i.e., the Dao itself) as the foundation of nurturing life. All bodily signs manifest through the "hundred joints" (baikai, the skeletal framework). The passage also clarifies terms like "weariness" (nieran) as a state of exhaustion, "bewilderment" (manghu) as a condition of ignorance, and "preconceived mind" (chengxin) as the obstinate heart that clings to subjective judgments.

Regarding the records of Yu the Great: He is called "Divine Yu" (Shen Yu) due to his miraculous achievements in flood control. His courtesy name was Wenming, and he was the son of Gun and father of Qi. He passed away at the age of one hundred during an eastern inspection tour to Kuaiji.

Other lexical explanations: For instance, "chirping" (chui) refers to the sound of birds calling, while "peeping" (kou) denotes the cry of a hatchling about to break its shell. These interpretations provide essential context for understanding specific terminology in the classic.

This passage provides annotations and textual research on select chapters of the Nanhua Zhenjing (the Zhuangzi), focusing on several key concepts and figures:

The discussion of the Dao (the Way) notes how different schools interpreted "truth and falsehood" differently. Confucians revered the Duke of Zhou and King Wen, while Mohists venerated Yu the Great. The "pivot of the Dao" (Daoshu) is likened to a door hinge—hollow yet capable of turning all things.

Propositions such as "a finger is not a finger" and "a horse is not a horse" were considered by scholars from Sima Biao, Xiang Xiu, and Guo Xiang to Tang Dynasty commentators as parables fabricated by Zhuangzi (the "Lacquer Garden" philosopher). However, the author's research reveals these ideas actually originated from Gongsun Long (a representative of the School of Names) and his works like On the White Horse and On Finger and Things.

Key term explanations:

• "Ting" refers to roof beams, "ying" to pillars
• "Li" can mean malignant illness or leprosy
• "Xi Shi" was the beauty presented by King Goujian of Yue to the King of Wu
• "Hui" signifies vastness, "gui" strange transformations
• "Jueguai" denotes eccentricity and peculiarity

Notable figures mentioned:

• Zhao Wen was an ancient master zither player
• Shi Kuang (styled Ziye), music master to Duke Ping of Jin, was blind yet mastered harmonics
• Hui Shi (Master Hui) enjoyed debating while leaning against a parasol tree; some believe he played the zither beneath it

Finally, the "three at dawn and four at dusk" anecdote: originally meaning giving monkeys three measures of acorns at morning and four at evening (later reversed), which pleased them—illustrating how people are often misled by superficial changes.

These annotations clarify pronunciation and meanings, trace intellectual origins, and supplement biographical context, aiding readers in accurately understanding the original Zhuangzi text.

This passage primarily explains certain terms and concepts from the Nanhua Zhenjing (the Zhuangzi) while recording annotations from various scholars.

Regarding the concept of "hard and white" (坚白), previous interpretations have varied. Here we include Gongsun Long's Discourse on Hardness and Whiteness and Discourse on White Horse for supplementary clarification. The character "lun" (纶) has been interpreted by some as a zither string, while others consider it the thread of an argument. A quoted passage from the Jiangnan ancient manuscript states: "Though I have not achieved anything, it may still be called achievement."

"Huayi" (滑疑) refers to confusion and perplexity. "Autumn hair" (秋毫) denotes the fine new fur grown by rabbits in autumn, serving as a metaphor for minute things. "Shangzi" (殇子) indicates those who die young, generally referring to those deceased under nineteen. "Qiaoli" (巧历) describes experts in calendrical calculations.

"Feng" (封) means boundaries, while "zhen" (畛) indicates borders. In the phrase "there is left and right," left represents yang and right yin. The expression "there is order and righteousness" appears as "there is discussion and deliberation" in Cui's edition. "Jing" (竞) means mutual pursuit, while "zheng" (争) denotes debate and confrontation. "Buqian" (不嗛) can be understood either as dissatisfaction or as non-greed leading to non-concession.

The phrase "benevolence is constant but not universal" appears as "achievement without harm" in the Jiangnan ancient manuscript, where "zhi" (忮) means opposition or injury. "Celestial treasury" (天府) refers to an all-encompassing repository, while "hidden light" (葆光) indicates all-concealing radiance.

Regarding records from the Yao-Shun era: Zong, Kuai, and Xu'ao were names of three small states. Legend says ten suns once appeared simultaneously during Yao's reign—an extraordinary phenomenon later resolved when the divine archer Yi shot down nine, though in reality these nine suns merely withdrew.

"Nie Que" and "Wang Ni" were sages of Yao's time. "Wuhu" (恶乎) means "where" or "how," while "yongju" (庸讵) is also an interrogative term meaning "how" or "where." These contents primarily provide explanations for difficult words in the Zhuangzi along with textual comparisons across different editions.

This passage primarily provides phonetic notations and explanations for obscure characters and specialized terms found in the Nanhua Zhenjing (i.e., Zhuangzi), representing a type of ancient commentary literature. I will explain these terms one by one:

The character "庸" means ordinary or common; "讵" expresses doubt, equivalent to "how." These explanations clarify the meanings of function words appearing in Zhuangzi.

The term "偏死" was explained by Sima Biao (a Jin dynasty commentator) as a state of hemiplegia. "鰌" is pronounced "qiū," the name of a type of fish. "惴" (pronounced "ruì"), along with "栗" (pronounced "lì") and "恂" (pronounced "xún"), all describe the appearance of trembling in fear.

"猨猴" is pronounced "yuán hóu," referring to apes and monkeys. "芻" (pronounced "chū jù qiē") is explained in the Xiao Erya as dried grass for feeding livestock. "豢" (pronounced "huàn") is interpreted by Sima Biao: what cattle and sheep eat is called "芻," while what pigs and dogs eat is called "豢"—this distinction is based on their respective diets.

"麇" (pronounced "méi") is explained by Cheng Xuanying (a Tang dynasty Daoist) as an animal resembling a deer but with a longer tail. "薦" (pronounced "jiān liàn qiē") is described by Sima Biao as high-quality pasture grass, while the San Cang (an ancient lexicon) defines it as fodder for livestock.

"蝍蛆" (pronounced "jí qū") refers to centipedes. The Erya states that this insect, resembling a locust with a large belly and long horns, can eat snake brains. Cui Zhuan (a commentator) says it specializes in consuming snake eyes.

"鴟" (pronounced "chǐ yí qiē") is a kite (a type of bird); "鴉" (pronounced "yú jiā qiē") refers to crows. "嗜" (pronounced "shì zhì qiē") denotes a particular fondness. "猵狙" (pronounced "pǐ xiàn qiē" and "qī yú qiē") is explained by Sima Biao as an animal called "gè zāng," resembling an ape but with a dog’s head. Males prefer mating with female apes, representing cross-species reproduction.

"毛嬙" (pronounced "zài liáng qiē") was a beauty of the King of Yue; "麗姬" (pronounced "lì zhī qiē") was a favored consort of Duke Xian of Jin, later becoming his wife. "决驟" (pronounced "xǐ quē qiē" and "shì jiù qiē") describes the appearance of rapid running. Cui Zhuan explains it as dashing forward without regard.

"樊然" (pronounced "fán") means tangled or chaotic. "淆亂" (pronounced "hé jiāo qiē") refers to the appearance of mixed food. "泫" (pronounced "hù gù qiē") is interpreted by Xiang Xiu (a commentator) as frozen, while Cui Zhuan says it means dried up. "飄風振海" (pronounced "pí xiāo qiē") appears in the old edition from the Southern Tang Li family.

"瞿鵲子" (pronounced "qí jù qiē") is the Daoist name of a scholar, similar to "Heguanzi." Regarding the name "長梧子," Li Yi (a commentator) says it derives from living under a tall parasol tree, while Emperor Jianwen of Liang states he was a frontier official of Changwu. Xiang Xiu identifies him as the teacher of Quèzǐ.

The term "孟浪" is explained by Xiang Xiu as "漫瀾," meaning lacking clear direction; Li Yi says it conveys a rough or approximate sense; Cui Zhuan considers it imprecise, while others interpret it as careless or simplistic.

Finally, "黃帝" (the Yellow Emperor) is mentioned as the sacred ancestor of the current dynasty (the Song). This references Emperor Zhenzong of Song’s imperial edict The Nine Heavens of the Sacred Ancestor from the 24th day of the 10th month in the 5th year of the Dazhong Xiangfu era (1012 CE), reflecting the Song imperial family’s veneration of the Yellow Emperor as their progenitor.

This scripture records the legend of the Daoist Celestial Worthy of Life Preservation (a deity governing lifespan and protecting life) descending to the mortal realm. It mentions:

In ancient times, one of the Nine Human Sovereigns—the progenitor of the Zhao lineage—returned to the human world due to his accumulated merit. This was none other than the Yellow Emperor (Huangdi), whose mother conceived him after sensing thunder and dreaming of celestial beings, giving birth at Shouqiu. Historical records state that Huangdi could speak at birth and later attained the Dao to ascend to heaven.

The text further explains ancient terms and concepts: The ancients regarded roosters as heralds of dawn, while considering owls (xiao) a delicacy whose meat was used for roasted dishes. Owls had different regional names—xiao, xiu—being called "soul-terrorizer" (hun) in Wu territory where they were viewed as ominous birds of ill omen. Jia Yi described the fu bird as resembling an owl, though they are actually the same creature, also called "demon-heron" (hu), considered a supernatural avian.

It elucidates the concept of "cosmos" (yuzhou): the four directions of heaven and earth constitute "space" (yu), while the continuum of past and present constitutes "time" (zhou). The text describes the undifferentiated primordial chaos as resembling closed lips—formless and turbulent. It also portrays humans in their primal state as straightforward as ignorant children, alongside imagery of vegetation spreading wildly.

Finally, it presents a parable: When Qin natives moved to Chu in childhood, they would grow attached to Chu and forget Qin—termed "youthful exile." Using the story of Lady Li (daughter of the border guard from Ai in Lirong) as example, it illustrates how people often forget their origins when circumstances change. Those truly penetrating the great Dao perceive ten thousand years as brief as morning and evening. Quoting the Records of Forgotten Lore, it states the Fusang tree (mythical cosmic tree) withers only once every ten millennia—just as those attaining longevity remain evergreen.

This passage elucidates several key concepts and terms from the Nanhua Zhenjing (the Zhuangzi):

"Viewing it as day and night" means perceiving things with the same natural acceptance as the alternation of day and night. "Equalizing differences" refers to dissolving distinctions and regarding all things as equal. "Dàn'àn" (pronounced "àn") describes a dim, obscure appearance.

Regarding "tiānní" (natural boundaries), Cui's commentary gives the pronunciation as "ní," indicating natural differentiation. The discussion here suggests that distinctions between "right" and "wrong" are ultimately not worth debating. The Jiangnan ancient manuscript version reads "no need for debate," implying that if something is truly so, then the distinction between "affirmation" and "negation" becomes meaningless.

"Huàshēng" refers to the sounds of debate over right and wrong, which are as transient as natural transformations. "Màn" (pronounced "wàn") describes a state of ceaselessness and boundlessness. Sima Biao explains it as "the appearance of the limitless," meaning vast and endless.

"Wǎngliǎng" (the shadow of a shadow) is interpreted by Guo Xiang as faint shadows beyond the main shadow, while Xiang Xiu calls it the shadow's shadow. Cui's version writes it as "wǎnglàng," describing an indistinct, barely perceptible state. "Shéfù" refers to a snake's molted skin, and "tiáoyì" to a cicada's shed shell—neither being the actual snake or cicada wings. Zhuangzi uses these metaphors to illustrate that all transformations in the world occur naturally, without dependence on anything.

"Húdié" simply means butterfly, and "xǔxǔ" describes a state of effortless ease. Cheng Xuanying explains it as a joyful appearance. Cui's version writes it as "piānpiān," conveying happiness and freedom. "Qúqú" describes a tangible form, or is interpreted as an expression of astonishment.

In the Yang Sheng Zhu chapter, "yǒuyá" refers to the limits of life. "Following the central path as the constant principle" means adhering to the true Dao as the enduring standard. "Páodīng" is the name of a cook, and "Wénhuìjūn" refers to King Hui of Liang. "Huàrán" describes the sound of a blade cutting through flesh and bone.

These annotations primarily clarify difficult terms in the Zhuangzi from perspectives of pronunciation, meaning, character forms, and various commentators' interpretations, aiding readers in understanding the profound wisdom of this Daoist classic.

This passage comes from a commentary on the famous "Butcher Ding" parable in the Zhuangzi (also known as Nanhua Zhenjing), explaining key terms and their meanings.

The phrase "离声响然" describes the crisp sound of the blade striking ox bones. "桑林" refers to the ceremonial music and dance of the Shang dynasty, which the ruler of Song once performed for the Marquis of Jin. "经首" denotes a section from the Xianchi musical composition of Emperor Yao's era.

Butcher Ding emphasizes "meeting the ox with spirit rather than looking with eyes" (以神遇不以目视), meaning he guides his blade through spiritual awareness rather than visual observation. When skill reaches perfection, the blade glides through the natural hollows between joints, effortlessly separating even large bone connections (大軱). Expert butchers (良庖) replace their blades yearly because they cut through meat, while ordinary butchers (族庖) need new blades monthly from hacking at bones.

The text meticulously explains anatomical terms: "批" means to strike, "大卻" refers to gaps between joints, "大窾" indicates hollow spaces in bones, and "肯綮" denotes tendon-bone junctions. Butcher Ding's blade remains sharp after nineteen years because he knows when to withdraw it (善刀而藏之).

Finally, the commentary mentions Gongwen Xuan (a Song official) questioning whether a footless man's condition (兀者) resulted from fate or human action. It notes that "介" is interchangeable with "兀," both describing amputated feet. Through the metaphor of ox-butchering, the passage subtly conveys that nurturing life (养生) should follow the natural order of the Dao.

This passage primarily provides annotations and explanations of certain terms from the Nanhua Zhenjing (i.e., Zhuangzi):

Regarding the character "独" (du), Sima Biao (a commentator) states: standing on one foot is called du, while others interpret it as "solitary" (jie). Guo Xiang (another commentator) argues that walking with both feet together is termed "having companionship" (you yu).

"远樊笼" (yuan fanlong) refers to pheasants living in marshlands. "一啄" (yi zhuo) is pronounced zhijiao qie, meaning they do not deliberately seek anything. "樊中" (fan zhong) is read as fan; Li Yi explains it as a fence, a cage used to confine pheasants. Though kept in captivity (wang, read as kuang qie), the pheasant's spirit remains vibrant and joyful, appearing vigorous.

"释县解" (shi xian jie): Laozi (Lao Dan) had the courtesy name Boyang, though some say it was Dan. He was born in Ku County, Lai Township, in the state of Chu. He stood nine feet tall, with feet five inches long (dao wu ba shi may be an error), elegant eyebrows, a square mouth, two protrusions (shuang zhu) and three depressions (san lou) on his head, a forehead like the sun's angle, and eyes as deep as moonlit pools—features befitting a great sage. He resided south of Mount Qi, serving as the Archivist under King Wen of Zhou, the Pillar Historian under King Kang, and later journeyed westward through the Hangu Pass during King Zhao's reign. He lived for over two hundred years under the Zhou dynasty. "秦失" (Qin Shi) is also written as "Xia" in some editions but should be read as the original character. Laozi was a friend of the "Lord Lao" (Lao Jun) (san hao, read as hu gao qie), with some versions recording him as a "Perfected Being" (zhiren).

"少" (shao) is read as shi zhao qie; "遁天" (dun tian) is pronounced tu xun qie, meaning to evade natural laws. "倍情" (bei qing) is read as bu dui qie, referring to amplifying worldly emotions. "哀乐" (ai le) has le pronounced as luo, with some editions writing it as "忧乐" (you le). Cui Zhuan explains "县解" (xian jie) as viewing life as bondage (xian) and death as liberation. "火传" (huo chuan) is read as zhi zhuan qie, signifying continuous transmission.