《南華真經章句音義》Vol. 4

This passage provides annotations to Chapter 6 "The Conduct of the True Person" from the "Great and Venerable Teacher" section of the Nanhua Zhenjing (i.e., Zhuangzi). Compiled by the Song dynasty Daoist master Bixuzi (Chen Jingyuan), these commentaries employ phonetic-semantic analysis to explain the pronunciation and meaning of key terms in the text.

Regarding the annotation on "the True Person breathes through their heels": This describes how a realized person (one who has attained the Dao) can extend their breathing awareness down to the heels. The commentary clarifies that "heel" (踵) refers to the back of the foot where the kidney meridian originates. Such breathing resembles fire beneath water, allowing Qi (vital energy) to circulate throughout the entire body. In contrast, ordinary people's breathing only reaches the throat—like fire and water in conflict—resulting in obstructed Qi flow.

The text mentions several ancient sages: Hubuxie (a virtuous recluse during Emperor Yao's reign who drowned himself rather than accept Yao's abdication offer), Wuguang (a legendary figure from either the Yellow Emperor's era or Shang dynasty, known for longevity practices who similarly drowned himself after declining King Tang's throne), and Boyi-Shuqi (twin sons of the Lord of Guzhu who mutually renounced their inheritance). The commentary records their legends in detail, including how Boyi and Shuqi were conceived when their mother drank ink, abandoned in a pigpen yet protected by swine, ultimately growing to become exemplary sages.

These annotations offer crucial explanations of pronunciation, semantics, and historical context for understanding Zhuangzi's original text, demonstrating Daoism's distinctive hermeneutical approach to classical literature. The breathing cultivation passage particularly exemplifies how Daoist thought integrates philosophical concepts with practical health-preservation techniques.

This passage recounts several historical anecdotes and explains key Daoist terms:

After King Wen of Zhou's death, when King Wu launched his campaign against King Zhou of Shang, the famous recluses Bo Yi and Shu Qi (two renowned hermits of late Shang dynasty) stopped King Wu's horse to remonstrate. When their advice went unheeded, they retreated to Shouyang Mountain in Hedong, subsisting on wild ferns until starving to death. Their posthumous titles "Yi" (夷) signifies one who guides people with righteous teachings, while "Qi" (齐) denotes upholding justice with dignity and integrity.

The text then recounts stories of Jizi (King Zhou's uncle) and Wu Zixu (minister of Wu during Spring and Autumn period). Jizi was imprisoned as a slave after his remonstrations were ignored, while Wu Zixu had his eyes gouged out and corpse thrown into the river after his advice was rejected by the King of Wu - who later presented him the Shulou sword to commit suicide.

Several Daoist terms are explained:

• "Gu" (觚) refers to ancient wine vessels holding about three liters
• "Bingbing" (邴邴) describes radiant brightness
• "Chu" (滀) signifies accumulation or stagnation
• "Li" (厉) indicates stern righteousness
• "Ao" (謷) depicts transcendent lofty realms beyond worldly concerns
• "Chuo" (绰) conveys expansive breadth
• "Quan he" (泉涸) means dried-up springs
• "Xiang ru yi mo" (相濡以沫) describes moistening each other with saliva (metaphor for mutual aid in adversity)

Key Daoist concepts are introduced:

• "Dakuai" (大块) refers to the earth (from Zhuangzi's "Equalizing Things")
• "Taiji" (太极) represents the cosmic origin
• "Liu ji" (六极) denotes six spatial directions (east, south, west, north, above, below)
• "Xiwei shi" (狶韦氏) names an ancient legendary ruler
• "Fuxi" (伏戏) refers to the mythical emperor Fu Xi who taught people to domesticate livestock for food

Blending historical narratives with philosophical terminology, these passages reflect Daoist contemplations on historical figures and cosmic origins.

This passage elucidates the origins and characteristics of various deities and legendary figures mentioned in the Nanhua Zhenjing (The True Classic of Southern Florescence, i.e., Zhuangzi).

Fuxi (also known as Fu Xi) is honored as the "August Sovereign" because he communed with the primordial Qi of heaven and earth. The Big Dipper is likened to the celestial axis that maintains cosmic order, remaining eternally constant. Kanhuai, the mountain deity of Kunlun, manifests with a human face and animal body, dwelling north of the Northern Sea in the Kunlun Mountains. Fengyi (the River Earl) became a water immortal after ingesting eight types of transcendent elixirs, later serving as the Yellow River deity. Jianwu is the sacred guardian of Mount Tai. The Yellow Emperor (Huangdi) attained the Dao and took residence in the True Palace of the North. Yuqiang, the god of the Northern Sea, appears with a human face and bird's body, his ears adorned with green serpents and his feet treading upon crimson snakes.

The Queen Mother of the West (Xiwangmu), also called the Golden Mother, reigns as the supreme goddess of the west, dwelling in the Shaoguang Cavern of Kunlun Mountain, having transcended the cycle of life and death. The text clarifies that the folkloric image of her "with disheveled hair wearing victory ornaments, tiger's teeth and skilled in roaring" actually depicts her messenger, the White Tiger deity, not her true form. Pengzu is the renowned immortal of longevity.

Fu Yue served as the virtuous minister to King Wuding of the Shang dynasty. Legend holds that after death, his spirit ascended to become a constellation between the Winnowing Basket and Tail stars in the eastern sky. The passage also recounts Fu Yue's miraculous nature—being "born without parents" and having his physical form dissolve three years after achieving immortality—illustrating his unfathomable mystical qualities.

These explanations reveal aspects of Daoist deity systems, astral worship, and ancient mythology, demonstrating how historical figures were deified in traditional Chinese thought. The narratives integrate cosmological concepts, alchemical attainment, and spiritual transformation characteristic of Daoist theology.

The passage primarily discusses two sections: the first outlines the hierarchical stages of Daoist cultivation, while the second recounts the stories of four transcendent practitioners.

In the first section, the text describes seven progressive stages of cultivation: beginning with "Fumo" (engaging with written scriptures), advancing through "Luosong" (recitation and comprehension), "Zhanming" (insight into principles), "Niexu" (secret transmission of heart-methods), "Xuyi" (practical application), and "Yu'ou" (praising the Dao), ultimately reaching the profound state of "Xuanming" (mysterious and unfathomable realization). Beyond these lie even more advanced stages—"Canliao" (merging with emptiness) and "Yishi" (transcending beginnings and endings)—which lead to the supreme realms of "Taiwu" (ultimate nothingness) and the "Dao's origin beyond beginnings" (the primordial source of the Dao).

The second section narrates the lives of four reclusive cultivators: Zisi (also known as Ziyong), Ziyu, Zili, and Zilai. It details how Zisi, at the age of fifty-four, developed a peculiar condition: his back hunched severely, his spine protruded, and his neck bent forward like a growth pointing skyward. While these descriptions appear to depict physical ailments, they actually reflect the practitioners' transcendent attitude toward the body. The text exclaims "How magnificent!" in admiration of this state, illustrating how these "transcendent beings" (fangwai zhi shi) had surpassed ordinary attachment to physical form.

Note: The term "fangwai zhi shi" refers to Daoist practitioners who transcend worldly conventions; "Taiwu" denotes the fundamental origin of the cosmos in Daoist thought, deeper than mere "emptiness"; "Xuanming" describes the Dao's mysterious and profound state. The seemingly afflicted physical conditions of these cultivators symbolize their spiritual liberation from bodily constraints.

This passage consists of two main parts: the first provides phonetic annotations and definitions for obscure characters from the Nanhua Zhenjing (Classic of Southern Florescence), while the latter recounts the legendary tale of the swords Ganjiang and Moye.

Regarding the lexical explanations: This section annotates the pronunciation and meaning of many rare characters. For instance, "沴" is pronounced "lì," meaning chaotic disorder; "跰" is read as "bùjiù qiē," describing an unsteady gait; "鏌鎁" refers to the famous Moye sword. These annotations aid readers in correctly understanding difficult terms within the classic.

Concerning the legend of Ganjiang and Moye: Ganjiang, a man from Wu, forged swords for the King of Wu, with his wife named Moye. They crafted a pair of gendered divine swords—the male sword called Ganjiang and the female sword Moye. Mount Kunwu produced special ores, and within the mountain lived peculiar creatures the size of rabbits, with golden fur, that fed on copper and iron. Later, all the weapons in Wu's armory were devoured by these creatures. The king's men captured one yellow and one white beast, discovering their gallbladders and kidneys were made of iron. The king then ordered craftsmen to forge two divine swords from these iron organs—the male named Ganjiang, the female Moye—so sharp they could slice jade and sever rhinoceros horns, treasures highly prized by the king.

Finally, the passage mentions several Daoist figures—Zisang Hu, Mengzi Fan, and Ziqin Zhang—transcendent friends beyond worldly concerns who shared wordless understanding and harmonious companionship. This exemplifies the Daoist ideal of friendship where "fish forget each other in rivers and lakes" (相忘于江湖), a state of effortless unity beyond conventional bonds.

This passage provides annotations for the Nanhua Zhenjing (i.e., Zhuangzi), primarily explaining the pronunciation and meanings of challenging characters. I will elucidate them point by point:

Regarding the interpretation of "独人": It is pronounced "猗於宜切," meaning someone at odds with worldly conventions. "命之命" refers to heavenly mandate (天命), with the second "命" being a noun. "疣" is pronounced "尤," indicating a superfluous wart. "决" is pronounced "古穴切," meaning to decide or resolve.

"端倪" is pronounced "音瀝," denoting the beginning of things. "芒然" is pronounced "莫剛切," describing a state of being unmoored and bewildered. "彷徨" is pronounced "薄剛切" and "音皇," both conveying a carefree, leisurely state. "憒憒" is pronounced "工内切," signifying chaos or confusion.

"相造" is pronounced "七報切," meaning to arrive or reach. "相忘" is pronounced "音亡," referring to mutual forgetting. "道術" refers to the paths within a city; some read it as "遂," but the annotator considers the reading "沟遂" incorrect.

"畸人" is pronounced "居宜切," indicating someone who does not conform to worldly norms. "侔於天" is pronounced "音謀," meaning to be equal to or in harmony with heaven. A solitary individual does not follow the crowd but aligns with their innate nature.

Regarding the annotation of Meng Suncai (a virtuous man of Lu, descendant of the Three Huan clans): "恶知" is pronounced "乌," and "如觉" is pronounced "古孝切." "骇形" in Cui's version is written as "咳," describing an infant-like appearance. "旦宅" refers to the body as the dwelling of the spirit, with changes akin to the alternation of day and night.

"庸詎" is pronounced "其庶切," meaning "how could it be?" "造適" refers to reaching a state of contentment. "献笑" means to display a smile. "寥天一" is pronounced "力彫切," describing the vastness of heaven, with "一" signifying a state of non-duality.

Regarding "Yi'erzi" (a virtuous scholar): "资汝" means to provide or supply. "为軹" is pronounced "之是切," serving as a grammatical particle. "黥" is pronounced "其京切," and "劓" is pronounced "鱼器切," both referring to ancient punishments. Here, they metaphorically represent how benevolence and righteousness can corrupt virtue like tattooing (黥), and how distinctions of right and wrong can disrupt profound principles like nose-cutting (劓).

"遥荡" describes unrestrained wandering, and "恣睢" is pronounced "许维切," depicting a self-satisfied demeanor. "转徙" conveys a state of constant flux. "藩" is pronounced "父烦切," referring to boundaries or regions.

Finally, it mentions the ancient beauty Wuzhuang (fond of adornment) losing her beauty and the warrior Juliang losing his strength. Master Huang explains that these are examples of how attachment to external things leads to the loss of one's true nature.

This passage recounts how several practitioners transformed themselves through comprehending Daoist truths, while also explaining key Daoist cultivation terminology.

It first describes how Master Qiu (a Daoist practitioner), upon realizing the Dao (the Way), abandoned his outward adornments. Next we learn about Liang Gu (a man of great strength) who originally bullied others with his power, but after meeting Xianmenzi (an accomplished Daoist master) and receiving teachings, relinquished his combative nature.

The text provides detailed explanations of cultivation tools and states. The "furnace bellows" (luchui) refers to iron tools for stoking fires, used in alchemical practices and metalworking. The state of "sitting in oblivion" (zuowang) describes achieving transcendence beyond physical form and intellectual knowledge through meditation.

When discussing the "teaching without words," the passage references the Daoist masters Nie Que and Wang Ni (from the "Discussion on Making All Things Equal" chapter). Their fourfold inquiry explores the limits of knowledge: First questioning whether one knows the commonality of all things; second whether one knows what one doesn't know; third whether all things are truly without knowledge; and fourth whether even perfected persons (those who have attained the Dao) remain unaware of gain and loss.

Finally, the text mentions the governing principles of the ancient ruler Tai Shi (the Nameless Sovereign), who advocated "storing benevolence within" (cangren) and maintaining a state of "serene composure" (xuxu yuyu) - embodying the Daoist ideal of governing through non-action (wuwei). The term "serene composure" describes the practitioner's peaceful, self-possessed state whether awake or asleep.

The frequent appearance of "pronounced as..." (yin mou qie) represents ancient phonetic notations that modern readers may disregard, while references like "Li's commentary" or "Cui's commentary" indicate annotations by different scholars.

This passage elucidates key terms and concepts from the Nanhua Zhenjing (True Scripture of Southern Florescence):

Regarding the explanations of "Heavenly Root" and "the Nameless One": The Heavenly Root metaphorically represents formless primordial Qi, while the Nameless One symbolizes the Great Dao—both being allegorical expressions. Concerning the place called Yinyang, some identify it as a mountain name in Weizhou (with "yang" denoting the mountain's southern side), while others consider it a location near Liao River.

The phrase "beyond the Six Extremities" refers to realms transcending Yin-Yang. In the section on "the sage not seeking fame," Yang Ziju is identified as a personal name ("zi" being a common honorific for men). This emphasizes how true sages consciously avoid pursuing reputation, instead attributing merit to all things without self-promotion.

The passage on "the sage having no fixed preconceptions" recounts how the spirit-medium Jixian (a personal name, with "wuxi" denoting male and female shamans generally) was awed by the Daoist arts of Huzi (personal name Lin, from Zheng State, teacher of Liezi). Here, "Earth's Pattern" signifies the fundamental characteristic of absolute stillness in the earth.

The text also provides detailed phonetic and semantic explanations for numerous terms, such as:

• "Xi mouse" refers to a small rodent species
• "Spirit Mound" indicates an altar for sacrifices
• The pronunciation of the character for "incense fumigation"
• "Not participating" (buyu) means abstaining from involvement
• "Vast and subtle" (mangmiao) describes an extremely minute state

These explanations collectively aid readers in comprehending the profound meanings within the classical text with greater precision.

This passage primarily explains specialized vocabulary and concepts from the Nanhua Zhenjing (the Zhuangzi), representing ancient commentators' phonetic and semantic annotations. Let me elucidate them point by point:

Regarding the concept of "Deji" (the pivot of De's [Virtue's] activation), the commentary states that when it becomes still, human actions and thoughts cease their restless movements. The character "chou" (recovery) metaphorically describes the state achieved through moral cultivation—a harmony akin to heaven and earth's natural generation of all things.

The annotation provides detailed explanations for the term "Ni Huan": "Ni" refers to whales, while "Huan" denotes lingering or staying. Different scholars offer varying interpretations—Emperor Jianwen considered it to mean "location," Sima Biao explained it as "coiling and gathering," while Cui Zhuan interpreted it as deep pools where water currents swirl and converge.

Concerning the "Nine Abysses" (nine types of profound depths), the text enumerates nine names including "Ni," "stillness," and "flowing," citing the Huainanzi which describes these as the most unfathomable depths. "Self-loss" depicts the state where one, immersed in such abyss-like realms, forgets both self and external objects.

The term "Weiyi" (pronounced "yi") appears in some versions as "declining and lax," describing a state of extreme pliancy, while others interpret it as humble submission. "Wave-like flow" metaphorically represents this state of following nature's course—a depth beyond measurement.

The annotation on "Hundun" (primordial chaos before cosmic differentiation) is particularly significant: the Baoxuan Zhenjing states that the state of undivided primordial Qi before heaven and earth separated is called "Hun," while the period before the manifestation of the Five Phases is termed "Dun." Emperor Jianwen explains "Shuhu" (sudden and swift) as symbolizing the rapid transformations of purposeful action, whereas "Hundun" represents the harmonious unity of Wuwei (non-action). In Zhuangzi's allegory where Hundun dies after having seven orifices opened, Cui Zhuan's commentary explains this as the fatal consequence of violating nature by forcibly creating apertures.

These annotations help us comprehend the core Zhuangzian philosophy of "following nature's course"—opposing artificial contrivance while advocating the preservation of all things in their original state of chaos. Through philological analysis of pronunciation and meaning, the commentators reveal the profound philosophical implications beneath the text's surface.