《南華真經章句音義》Vol. 8

This passage provides detailed exegesis on the terminology, pronunciation, and allusions in the "Za You" chapter from the Miscellaneous Chapters of the Nanhua Zhenjing (i.e., Zhuangzi). The Song dynasty Daoist master Bixuzi (Chen Jingyuan) offers meticulous annotations on key concepts:

The two characters "在宥" are separately explained: "在" (zai) means to preserve and nurture, while "宥" (you, pronounced as "you") signifies tolerance. Excessive indulgence in one's innate nature leads to its loss, just as excessive alteration of De (Virtue/Power) results in its dissipation. Regarding the term "人乐," the character "乐" (le) is pronounced as "luo," indicating pleasure; "恬" (tian) is read as "tu qian qie," meaning tranquility; "瘁瘁" (cui cui) is pronounced "zai ji qie," denoting suffering and sorrow.

Concerning the character "毗" (pi), Sima Biao (a Jin dynasty commentator) interprets it as assistance or juxtaposition. The character "乔" (qiao) has two readings—"qin xiao qie" and "jiao"—while Cui Zhuan (a Tang dynasty scholar) suggests it conveys emotional unrest. "卓鸷" (zhuo zhi) is pronounced "chi er qie," describing unconventional behavior.

The passage highlights two particular lines: "To value the world as one values one's own body may entrust one with the world; to love the world as one loves one's own body may commit the world to one's care." These differ slightly from contemporary versions of the Daode Jing but align with Wang Bi's edition. It is speculated that these variations might stem from revisions during Emperor Xuanzong of Tang's textual collation, but here Zhuangzi's (the "Lacquer Garden" master) original text is followed.

"尸居龙见" (shi ju long xian) is an important Daoist image: "尸居" depicts solemn stillness like a sacred statue, while "龙见" metaphorically suggests a dragon hidden in deep waters yet capable of transforming and soaring—symbolizing how sages, though silent as still water, can make their fame thunder across the world. "从容" (cong rong) is pronounced "qi rong qie," indicating a state of ease. "炊" (chui), read as "chang shui qie," is explained by Guo Xiang (a Jin dynasty commentator) as resembling dust drifting naturally.

Finally, the text mentions how the ancient sage Cui Qu consulted Laozi, receiving the advice: "Be cautious not to disturb the human heart." The Lüshi Chunqiu states that while all things originate from the transformations of heaven and earth, their cultivation depends on human effort. Only those who can nurture what is born of heaven without disturbing it are worthy of being called "Son of Heaven." Here, "攖" (ying) is pronounced "yu ying qie," meaning to interfere.

The governance of the Yellow Emperor (Huangdi) was fundamentally rooted in preserving the natural essence of all beings. Gao You's commentary explains the character "攖" as meaning to oppose or disrupt. Before the era of the Yellow Emperor, people lived in tree nests and caves, lacking fire and grain, and were frequently plagued by illness. It was the Yellow Emperor who invented clothing, built dwellings, created pestles and mortars, and developed farming tools, thereby providing the people with the necessities of food, clothing, shelter, and transportation—all systems established through his sagely wisdom. When the people benefited from these innovations, they called it "benevolence" (ren).

When the tyrant Chi You brutalized the populace, the Yellow Emperor raised an army to suppress him—another manifestation of sagely governance. When the people received fair treatment, they called it "righteousness" (yi). In truth, the principles of benevolence and righteousness have existed since ancient times. Later generations, unaware of their origins and seeing only the Yellow Emperor's deeds, mistakenly believed these virtues began with him.

Yao and Shun followed the Yellow Emperor's methods of governance, exhausting themselves to the extreme: their thighs grew thin without fat, and their calves became bare without hair. During Emperor Yao's reign, he dealt with four notorious figures: he exiled Hundun (also known as Huandou), son of the Dihong clan, to Chong Mountain in the south; banished Taotie (the Sanmiao tribe), son of the Jinyun clan, to Sanwei Mountain in the west (near present-day Tianshui); and sent Qiongqi (Gonggong), son of Shaohao, to Youzhou in the north. These actions continued the Yellow Emperor's approach to governance.

Later, as social morality declined, people began employing cruel punishments: using axes and saws for corporal mutilation, black ropes to strangle convicts (those already sentenced were bound with black ropes, while the accused wore red ropes), and chisels to craft torture devices. These harsh laws treated the people like timber shaped by a carpenter's square and compass—utterly contrary to the Yellow Emperor's original intent of preserving natural harmony.

This passage primarily provides phonetic and semantic annotations for certain terms in the Nanhua Zhenjing (i.e., Zhuangzi), presenting somewhat fragmented content. Let me explain several key sections in segments:

Regarding the character "脊": Here it is pronounced as "藉" (jiè), meaning mutual trampling. Another version writes it as "肴," denoting chaos.

On penal terminology: "桁" (háng) refers to a long shackle. Sima Biao's commentary explains it as a foot restraint. Yang Cui states that any restraint binding the neck and calves is called "桁." "桎梏" (zhì gù) is the general term for handcuffs and shackles, while "椄摺" (xié xí) indicates the wedges or crossbeams of such instruments.

Annotation on "Mount Kongtong": This was the dwelling place of the ancient Daoist adept Guangchengzi. Located beneath the Big Dipper, some sources place it thirty li east of Yucheng in Liang State (near present-day Shangqiu, Henan). The Yellow Emperor once sought instruction here from Guangchengzi on the supreme Dao.

Natural phenomena metaphors: When rain falls before clouds fully gather, it indicates scarcity; when plants wither before their seasonal yellowing, it shows excessive killing energy. The term "翦翦" has multiple interpretations: Sima Biao describes it as skillful in debate, Li Yi as shallow and shortsighted, while others view it as narrow-mindedness.

Finally, the temporal concept: "Twelve hundred years" was explained by Li Chunfeng as a celestial cycle called the "Ten Great Kè," representing a minor cycle of Yin-Yang transformation. This includes numerical combinations like four nines making thirty-six and three hundred sixty-four; eight threes making twenty-four and three hundred twenty-four; seven twenty-eights, etc., likely relating to ancient calendrical calculations.

The text also contains miscellaneous phonetic notes and variant readings from different editions, collectively reflecting classical scholars' philological studies of the Zhuangzi text.

This passage elucidates the phonetic meanings and philosophical concepts from the Nanhua Zhenjing (The True Scripture of Southern Florescence, i.e., the Zhuangzi):

The number "two hundred" symbolizes the flourishing state of all things. The character "緡" (pronounced "wujin qie") denotes profundity, while "昏" signifies obscurity. Sima Chengzhen (a Tang dynasty Daoist master) interprets both characters as representing the state of "no-mind" (wuxin) — the natural nurturing of all beings without deliberate action.

"云将" (pronounced "zi jiang qie"), according to commentator Li Yi, refers to the deity governing clouds and rain; "鸿蒙" represents the primordial Qi before the separation of heaven and earth. The meteorological metaphor illustrates how wind and clouds nourish all things effortlessly. "拊髀" describes slapping one's thigh, while "雀跃" depicts joyful leaping like a sparrow. "倘然" (pronounced "chi zhang qie"), as Sima Biao explains, conveys the intention to cease; "贄然" (pronounced "li zhi qie"), according to Li Yi, indicates complete stillness.

"叟" is an honorific for elders, and "不輟" means "unceasing." The "six qi" refer to yin-yang, wind-rain, and darkness-light, though some interpret them as the six climatic phenomena (wind-cold-summerheat-dampness-dryness-fire) corresponding to the Five Phases (Wood-Water-Fire-Earth-Metal) with supplementary fire (secondary elemental fire).

Regarding Song state affairs, "鞅掌" describes overwhelming official duties. "放效" means to emulate, while "僊僊" (pronounced "xian") portrays an ethereal, ascending lightness. "涬溟" (pronounced "hu ding qie, wang ding qie") denotes the undifferentiated chaos, which Sima Biao explains as natural primordial Qi. "浑浑沌沌" depicts the primal undivided state before heaven and earth separated.

On statecraft: A ruler should harness collective wisdom to stabilize the realm, for relying solely on personal cleverness becomes ensnared by myriad skills. Citing the Jiangnan Guzang edition, it questions how long emperors who covet undue advantages can maintain their thrones.

Finally, the philosophy of "holding back to take the lead" is expounded: "挈" means to grasp, yet the sage guides all things by following their inherent nature. The true Dao (natural principle) accomplishes all while appearing non-active (wuwei), its essence lying in mastering the subtle state of "恶乎" (pronounced "wu") — the realm beyond deliberate pursuit.

This passage comes from Chapter 22, "Perfect Happiness" (Zhile) in the Miscellaneous Chapters of the Zhuangzi (also known as Nanhua Zhenjing). It primarily discusses the philosophical concept of "perfect happiness through non-action (Wuwei)." While containing numerous ancient phonetic annotations and textual variants, we'll focus on interpreting its core ideas:

Regarding "perfect happiness" (zhile, the highest form of joy), Zhuangzi posits that true happiness lies in following nature's course and practicing non-action. He states: "I don't know whether what the world considers happiness is truly happiness, nor whether what it considers unhappiness is truly unhappiness. Perhaps absolute happiness doesn't exist at all? I maintain that non-action (wuwei, not deliberately pursuing anything) constitutes genuine happiness."

The text describes how all things suddenly emerge from nothingness and proliferate naturally. The phrases "vague and indistinct" depict things suddenly manifesting from chaos, with all beings flourishing ("thriving profusely") according to their inherent nature, each governed by its own principles.

Later parables illustrate the naturalness of life and death: Enlightened individuals like Crippled Shu and Slippery Shu regard physical deformities ("crippled") or solitary eccentricity ("slippery") as natural states. When resting at Great Hill (symbolizing the realm of Dao), they remain unperturbed even when a willow tree suddenly sprouts from their left elbow (symbolizing natural transformation).

The final skull parable demonstrates: While bleached bones may appear dreadful, they've actually been liberated from worldly toils. Through this, Zhuangzi conveys that life and death resemble seasonal cycles—there's no need for mournful wailing ("wailing cries"), as one should rest peacefully between heaven and earth ("great chamber" representing the cosmos).

Note: Many ancient phonetic annotations (like "nì ér nǚ lì qiè" indicating pronunciation through the fanqie method) and commentaries attributed to scholars like Cheng Xuanying and Li Yi can be omitted in modern interpretation. The essence lies in elucidating Zhuangzi's philosophy of "perfect happiness through non-action" and "the naturalness of life and death."

This passage provides explanations of pronunciation and meanings for terms from the Nanhua Zhenjing (the Zhuangzi), representing traditional commentary literature. Here's the modern interpretation:

Regarding the term "horse whip" (马捶), "捶" is pronounced "zhuó ruǐ qiè," referring to a horsewhip. "愧遗" is pronounced "wéi jì qiè," "冻" as "dīng gòng qiè," and "馁" as "nú zuì qiè." "援" is pronounced "yuán," while "枕" is read as "zhēn zhèn qiè." "见梦" is pronounced "xián biàn qiè."

In the passage about "Xiangzi's discourse," the Zhang Junfang edition originally had a missing character, now supplemented as "从," pronounced "qī róng qiè," meaning a state of natural ease. The Zhang edition writes it as "泛然." "复生" is pronounced "fú."

"深矉" is pronounced "pín," describing a frowning expression. "蹙" is read as "zǐ liù qiè," also written as "顣." Li Yi explains this as an expression of sorrow. "王乐" is pronounced "luò," and "而复" as "fú yòu qiè." The Zhang Junfang edition originally wrote "而复为人间之劳乎."

Regarding the "name and reality" section:

"褚" is pronounced "zhù," meaning a sack. "怀" conveys the sense of containment. "绠" is read as "gé měng qiè," referring to a well rope. "汲" is pronounced "jū jí qiè," and "重" as "zhí yòng qiè."

About the "seabird" passage: Sima Biao's commentary cites the Guoyu, identifying it as the "yuanju" bird that perched outside the eastern gate of Lu for three days. Zang Wenzhong had the people offer sacrifices to it. This wasn't Duke Lu's personal sacrifice but conducted at the Lu ancestral temple, hence "Duke Lu entertained it." The yuanju is also called "zaxian," standing eight chi tall with phoenix-like features.

"郷" is pronounced "yà," and "觴" as "shāng." "于庙" Sima Biao explains as "drinking in the temple." "九韶" is pronounced "cháng yáo qiè," the name of Shun's musical composition. "眩" is read as "xuàn," meaning blurred vision. "一脔" is pronounced "lǐ zhuǎn qiè."

"坛" is read as "dà dān qiè." Sima Biao's edition writes it as "澶," pronounced "dàn," meaning to cross water. "洲渚" refers to small islands. "食" is pronounced "sì." "鰌䱔" is read as "qiū tiáo." "随行" is pronounced "hù gāng qiè."

"委" is pronounced "yú wēi qiè." "蛇" is read as "yǐ zhī qiè," describing a relaxed, comfortable manner. "譊譊" is pronounced "nǎi jiāo qiè," indicating clamorous noise. "咸池" and "洞庭" were already explained in the "Heavenly Movement" chapter.

"人卒" is pronounced "zǐ hū qiè," meaning the multitude. "还" is read as "huán," signifying encirclement. The sentence "彼必相与异其好恶" appears in the Jiangnan ancient manuscript as "彼必相与异其好恶故异也."

Regarding the "transformative mechanism" section:

"道从" Sima Biao explains as "by the roadside," originally written as "徒." "攓" is pronounced "jū niǎn qiè," meaning to pluck. "蓬" is read as "bù dōng qiè."

"汝果" appears in the Yuanjia edition as "过飬," while Sima Biao's edition writes "暮," signifying death. "予果" in the Yuanjia edition is "过欢," and Sima Biao's version has "嚾," meaning a shout, representing life. "种" is pronounced "zhāng yǒng qiè."

"有几" is read as "jū qǐ qiè." "若鼃为鹑" appears in Liu De's edition with missing characters. "得水则为继" is pronounced "jì."

This passage describes the wondrous phenomena of mutual transformation among all things in nature. Where the original text uses the character "继" (continuation), it conveys that although all things have their own signs, they all require the Qi (vital energy) of water and earth to sustain their growth. "继" means continuation, while its opposite is "绝" (cessation).

At the boundary between water and land grows something called "frog's garment" (Sima Biao explains this refers to aquatic plant roots that resemble cloth spread over water when viewed from afar, known to people of Chu as "clothing for frogs"). Cheng Xuanying adds that this is actually aquatic moss, resembling unfurled silk, commonly called "toad's garment."

When this plant grows on hills ("陵屯" refers to elevated ridges), it transforms into plantago (车前草), also known as "陵舄" or "泽舄," which can adapt its form to wet or dry environments. This illustrates that the transformations of all things follow no fixed pattern—humans after death may become plants, while the essence (Jing) of plants may take human form.

When plantago encounters fertile soil ("郁栖" refers to manure-rich earth), it transforms into "乌足草" (a waterside plant). The roots of 乌足草 become larvae of scarab beetles ("蛴螬"), while its leaves turn into butterflies. Grass becoming insects and insects becoming grass—this cycle of transformation has no end.

Butterflies mate and lay eggs in the warmth of a stove, where they hatch into delicate, newly molted insects called "鸲掇." After a thousand days, the 鸲掇 transforms into a bird named "乾余骨." The saliva ("沫") of 乾余骨 becomes the "斯弥" insect, which then transforms into vinegar midges ("食醯" refers to vinegar flies).

Vinegar midges give rise to "颐辂" insects, which in turn produce "黄軦" insects, and finally, the 黄軦 transforms into the "九猷" insect (Li Yi suggests "九" should be read as "久," meaning "long-lasting"). This chain of transformations reveals the endless flow of life forms in nature.

This passage explores ancient etymological studies of various insects and plants, along with their marvelous transformational relationships.

It mentions several peculiar insects: the jiuyou (a legendary insect), and maorui (a small, erratic-flying insect that also shares its name with a plant growing in decaying matter). There is also the quan (pronounced "quán"), recorded in the Erya as another name for the "melon guardian," a small yellow insect found in melons. Some interpretations suggest it refers to fireflies, while others claim it denotes a type of rodent called fen shu. All these insects are said to emerge from decomposing matter.

When yangxi (a plant with roots resembling turnips) combines with jiuzhu (a type of green bamboo), they give rise to qingning (a greenish insect). The philosopher Shi Jiao (from the Warring States period) noted that what was called cheng in the Central Plains was referred to as mo in the Yue region—both being alternate names for the leopard. Here, an extraordinary chain of transformations is recorded: the leopard gives birth to the horse, and the horse gives birth to humans. The Records of the Grand Historian (Shiji) chronicles an anomalous event in the 21st year of Duke Xiao of Qin's reign—"a horse bore a human"—demonstrating that the transformations of Qi (vital energy) in the cosmos know no bounds and can produce all manner of inconceivable metamorphoses.

This text reveals the imaginative mindset of ancient observers of nature, connecting seemingly unrelated phenomena through the theory of "Qi transformation." The phrase "the transformations of a single Qi (炁) know no limits" encapsulates the Daoist cosmological view that all things arise from primordial Qi and undergo mutual transformation.