《南華真經章句音義》Vol. 9

This passage comes from the Nanhua Zhenjing Zhangju Yinyi (Phonetic Meanings of the Zhuangzi by Chapter and Verse), a commentary on the Nanhua Zhenjing (i.e., Zhuangzi). It primarily explains the pronunciation and meanings of terms from the "Dasheng" (Attaining Life) chapter. Let me break it down section by section:

Regarding the chapter title "Dasheng," "da" means to comprehend or penetrate, while "sheng" refers to life. The phrase conveys that one who attains the authentic state of life can transcend physical constraints and realize the Dao (the Way) that is beyond birth and death.

When mentioning Guan Yin (also known as Guan Ling Yin Xi, styled Gongdu, an official of the Zhou dynasty), the text states "no blockage," meaning the breath is unobstructed. The commentary specifically notes that the character "zhi" (窒) is pronounced as "zhen xi qie" (an ancient fanqie phonetic notation method).

In discussing "treading on fire," the commentary explains that "dao" (蹈) is pronounced as "tu bao qie"; for the character "yu" (予), it is noted as "yu ju qie." These are traditional Chinese phonetic notation methods, equivalent to modern pinyin.

The commentary clarifies that "Moye" and "Ganjiang" are names of famous ancient swords, previously explained in the "Great Ancestral Teacher" chapter. "Zhi xin" refers to a malicious, harmful heart, citing lexicons that define it as "ruthlessness."

The section on "the hunchback catching cicadas" tells the story of an old man with a hunched back capturing cicadas: "julou" (痀偻) is pronounced as "yu yu qie," meaning hunchbacked; "cheng tiao" (承蜩) refers to catching cicadas, which the ancients used to make meat paste (hai). The commentary details that mastering this skill requires practicing for nearly half a year between the fifth and sixth lunar months, until one can stack pellets on the pole tip without them falling.

The text also explains ancient weight measurements: "zi" (锱) equals six zhu (or eight liang by another account), and "zhu" (铢) is one-tenth the weight of a millet grain (ten millet grains make one lei, and ten lei make one zhu). These are extremely small units of measurement.

Finally, regarding "the abyss of Shang Shen," the commentary states this is the name of a deep pool, so called because its shape resembles a wine cup (bei). These annotations are all intended to help readers understand the more obscure terms and concepts in the original Zhuangzi text.

This passage presents several allegorical stories illustrating principles of Daoist cultivation, which I'll explain in sections:

The story of the archer Yi: When the Xia king commanded the divine archer Yi to shoot at a one-inch target, Yi hit it perfectly every time. But when the king promised ten thousand gold coins for success and threatened to confiscate ten fiefdoms for failure, Yi became nervous and missed. This shows how attachment to gain and fear of loss disrupts skill. Just as tossing roof tiles feels effortless, using hooks creates tension, and throwing gold induces fear - the object changes one's mental state.

Tian Kaizhi served as Zhou Weigong's (a Zhou dynasty noble) teacher of life-nourishment (yangsheng) arts. His teaching included "observing the weak and emaciated animals kept separately in sturdy pens" - a metaphor for cultivators needing to pay special attention to their vulnerable aspects.

Shan Bao was a hermit of Lu state, while Zhang Yi was its wealthy man. The rich man busied himself visiting noble houses, while the recluse withdrew from worldly affairs - contrasting two life approaches.

"The dreaded path" refers to dangerous roads symbolizing life situations requiring vigilance. "Sleeping mats" represent seemingly comfortable circumstances that still demand caution.

The "ritual master" (Zhuzongren) preparing sacrificial animals in their pens symbolizes how spiritual cultivation requires the same meticulous preparation as ritual offerings.

These stories collectively teach: Cultivation requires maintaining inner peace undisturbed by external matters; self-nurturing should be as attentive as livestock care; wealth and fame become burdens; even comfort demands alertness; and practice requires the solemn dedication of ritual preparation.

This passage provides phonetic annotations and explanations for obscure terms in the Nanhua Zhenjing (i.e., Zhuangzi), citing commentaries from various scholars. Here is a vernacular interpretation:

"直例切奚恶乌路切豢音患养也见张君房" – This notes the pronunciation of "豢" (read as "患"), meaning to raise livestock, as recorded in the works of Song dynasty scholar Zhang Junfang.

"本旧作㹖篇韵不收恐转写误本亦作犠曰" – Indicates that in older editions, the character was written as "㹖," though rhyme dictionaries don't include it—likely a transcription error. Some versions use "犠."

"齐侧皆切后章同藉在夜切尻苦羔切睢也" – Provides pronunciations for "齐," "藉," and "尻," with "尻" meaning buttocks and "睢" referring to an upward gaze.

"彫俎庄吕切俎盛肉器也彫谓画饰之为" – Explains "俎" as an ancient meat vessel, with "彫" indicating carved decorations.

"彘于伪切自为同如食音嗣糠糟音康音遭" – Notes the pronunciation of "彘" (pig), along with the sounds for "食," "糠," and "糟."

"错之七故切置也腞直转切楯食准切腞犹" – Defines "错" as "to place," while "腞" and "楯" refer to sacrificial vessels.

"篆楯犹案也聚偻力主切棺椁也其所异彫" – "篆楯" describes a patterned table, and "聚偻" means coffin, contrasting these objects with pigs.

"者何也见张潜夫本旧阙" – Cites Zhang Qianfu's edition, though the original text is incomplete here.

"仲父音甫诶于代切说文可恶之辞也诒吐" – Gives the pronunciation of "仲父" (an honorific for elders) and defines "诶诒" as detestable speech.

"代切司马云懈倦貌李云诶诒失魂魄貌数" – Sima Biao interprets it as a weary appearance, while Li Yi describes it as a dazed, soul-lost state.

"日所主切皇子告敖司马云姓皇字告敖齐" – Notes the pronunciation of "日" and explains "皇子告敖" as a virtuous scholar from Qi surnamed Huang, styled Gao'ao.

"之贤士也鬼恶音乌忿拂粉切滀敕六切之" – Clarifies "鬼恶" is pronounced "乌," with "忿" meaning anger and "滀" as stagnation.

"气散而不反则为不足李云忿满也滀结聚" – Li Yi explains that when Qi scatters and doesn't return, it signifies deficiency; "忿满" refers to pent-up rage.

"也精神有逆则阴阳结于内魂魄散于外故" – When the spirit (Shen) is disturbed, Yin-Yang congeals internally while the ethereal and corporeal souls (Hun-Po) disperse outward.

"曰不足也上而不下则使人善怒下而不上" – Qi rising without descending causes irritability; sinking without ascending leads to forgetfulness.

"则使人善忘李云阳散则阴凝故怒阴发阳" – Li Yi states: Yang dispersion allows Yin to congeal, causing anger; Yin activation with Yang suppression results in forgetfulness.

"伏故忘也不上不下中丁仲切身当心则为" – If Qi neither rises nor descends but stagnates at the heart, illness follows.

"病李云上下不和则阴阳争而攻心心精神" – Li Yi notes that disharmony between upper and lower regions provokes Yin-Yang conflict attacking the heart.

"主故病也沈有履司马本作沈有漏云沈水" – Sima Biao's edition writes "沈有漏," referring to water sediment.

"污泥也漏神名也灶有髻音结司马云髻灶" – "漏" is a deity's name. "灶有髻" (pronounced "结") denotes the stove god.

"神名著赤衣状如美女户内之烦壤雷霆处" – The stove god wears red and resembles a beautiful woman. "烦壤" indicates dusty corners indoors where thunder spirits dwell.

"之刘得一本作坟壤云坟壤中鬼名雷霆倍" – Liu Deyi's version writes "坟壤," naming its resident ghost as "雷霆."

"音裴阿鲑户蜗切蠪音龙司马云倍阿鲑蠪" – Notes "倍" is pronounced "裴," and "蠪" as "龙." "倍阿鲑蠪" is a deity's name.

"神名状如小儿长一尺四寸黑衣赤帻大冠" – This deity resembles a child, standing 1.4 chi tall, clad in black with a red turban and large crown.

"带剑持戟泆阳音逸司马云泆阳豹头马尾" – "泆阳" (pronounced "逸") is described by Sima Biao as having a leopard's head and horse's tail.

"一作狗头一云神名也罔象司马本作无伤" – Alternate versions give it a dog's head or simply call it a deity. "罔象" appears as "无伤" in Sima Biao's text.

This passage meticulously annotates rare terms in Zhuangzi, drawing from scholars like Sima Biao and Li Yi. Covering ritual objects and spirit imagery, it reflects classical exegetical rigor. Discussions of Yin-Yang Qi dynamics and Hun-Po (ethereal-corporeal souls) reveal Daoist insights into the body-nature relationship.

This passage explains some special terms and mythological figures from the Nanhua Zhenjing (The True Classic of Southern Florescence, i.e., the Zhuangzi), presented here in modern language:

Several peculiar divine beings are described: There is a water deity resembling a child, with an entirely red-black body, crimson claws, large ears, and long arms. Another spirit called "Zai" has the shape of a dog but sports horns and is adorned with five-colored patterns. Then there's a creature named "Kui" that looks like a drum yet possesses only a single leg.

Regarding chariot components, the "gǔ" (hub where spokes converge at the wheel's center) was anciently called "fú suǒ còu," while "yuán" refers to the chariot shaft. The "red crown" appears as "Yu crown" in Sima Biao's commentary, denoting a distinctive headgear from the ancient state of Yu, shaped like a spiral shell.

The explanation of "Lüliang": Sima Biao identifies this as a cliff along the Yellow River west of Lishi County in Xihe region, locally called "Yellow Beam." The Huainanzi records that before the Dragon Gate was excavated, the river flowed down from Mount Mengmen. Cheng Xuanying suggests it might refer to Lüliang Waterfall in Pengcheng Commandery of Song State, where waters plunge from a height of thirty ren (about 21 meters).

The text also mentions a Lu State artisan named Qing (where "Zi" denotes his official position and "Qing" his personal name), who crafted musical instruments called "jù" resembling the ancient jiazhong bell, carved from wood. Commentators note these instruments were decorated with patterns resembling the celestial beast "Feiyu"—a divine creature with a deer's head and dragon's body, also used to adorn bells and drums.

These annotations demonstrate how ancient scholars employed descriptive imagery, textual analysis, and geographical research to interpret obscure terms in classical texts. Divergent explanations by commentators like Sima Biao and Cheng Xuanying for the same terms reflect the rich diversity of classical exegetical traditions.

This passage explores the crucial importance of maintaining mental focus in Daoist cultivation, while warning against the dangers of excessive reliance on technique.

When a person's vital energy (Qi, the life force in Daoist thought) becomes depleted, the spirit (Shen) grows restless. Once the spirit is agitated, concentration becomes difficult to sustain. The term "zheran" describes a state of perfect stillness, while "gongchao" refers to official court duties. The story of Dongye Ji (an ancient master charioteer) illustrates how even someone capable of weaving perfect tracks with his carriage ultimately failed because he overindulged in displaying his skills without knowing when to stop.

The tale of Gongchui (a legendary artisan from Emperor Yao's era) demonstrates that true masters employ their techniques swift as a whirlwind, yet never violate natural principles. They follow the spontaneous transformations of phenomena without forcing their will upon things, thus maintaining a pure and unobstructed spiritual state. "Forgetting skill" (wangji) refers to transcending attachment to technique, reaching the realm where distinctions between right and wrong dissolve.

The subsequent account of Sun Xiu visiting the sage Bian Qingzi reveals that when one dwells in a state of utter bewilderment (mangran), one paradoxically attains spiritual freedom (fanghuang, meaning unconstrained wandering). The text employs the "nine orifices" (the body's openings) and "lameness" (physical impairment) as metaphors for mental-physical disharmony, emphasizing the need to relinquish self-attachment and align with the natural Dao (the Way). True joy isn't found through deliberate pursuit, but through surrendering to one's innate nature.

Through multiple classical allusions, this passage demonstrates how overuse of technique depletes vital energy and disturbs the spirit, while attunement to nature and preservation of emptiness and stillness lead to supreme spiritual unification.

This passage contains annotations and phonetic explanations by ancient scholars on the Nanhua Zhenjing (i.e., Zhuangzi), presented in fragmented notes. Let me explain them item by item:

Regarding the phrase "Li Yun explains it as a great bird swallowing a snake," this refers to scholar Li Yi (courtesy name Li Yun) interpreting the term "wēiyí" as creatures like loaches that live on flat land. Another version explains "kuǎnqǐ" with "kuǎn" meaning empty and "qǐ" meaning open, together describing a narrow perspective; alternatively, it can mean detailed enlightenment.

"Xī" is pronounced "xī," referring to small mice; "yàn" is pronounced "yàn," a type of small bird. This part comes from Zhuangzi·Miscellaneous Chapters·The Mountain Tree, Chapter 24, discussing how the Dao (the Way) manifests and withdraws.

The explanation of "mountain": Mountains produce all things ("shān chǎn yě"). Shuowen Jiezi states that "mountain" has the meaning of dispersal, scattering Qi (vital energy) to nurture all things. The explanation of "tree": Trees emerge from the ground to grow ("mù mào yě"). Li Yi says "tree" is a general term for all forests, while Baihu Tong explains "tree" as having an upward, leaping quality.

"Fūzǐ" is how disciples respectfully addressed Zhuangzi. "Shě yú" means to rest at. "Pēng" is pronounced "péng," meaning to boil. "Wú zǐ" is pronounced "zǐ," meaning slander. "Wéi liàng" is pronounced "liàng," referring to the transmission of human relationships.

"Shìnán Yíliáo" was a hermit of the Chu state surnamed Xióng, named Yíliáo, who lived south of the marketplace, hence the title. "Lǔ Hóu" refers to Duke Ai of Lu. "Xiānwáng" indicates former kings like King Wen of Zhou. "Fēng hú" means large foxes. "Xū shū" describes sparse visibility.

"Jī pì" is pronounced "bì yì," referring to animal traps. "Kū xíng" is pronounced "kū," meaning to forget the body. "Qù pí" means to shed external traces. "Sǎ xīn" is pronounced "xiān diǎn," indicating purification of the heart-mind. "Chāngkuáng" here describes a carefree, natural state.

"Wú xíng jù" is pronounced "jù," meaning not to be arrogant. "Wú liú jū" advises against attachment to dwelling places. "Dà mò" signifies emptiness/nothingness.

"Emptying oneself to avoid harm" describes being cautious when boats travel side by side ("fāngzhōu"). Erya explains the meaning of "urgent." "Hào" means to call out. "Zhāng xī" refers to opening and closing.

"Běigōng Shē" was a minister of Wei who lived in the northern palace, hence the name "Shē." This section mainly discusses following the natural transformations.

This passage elucidates some obscure terms and allusions from the Nanhua Zhenjing (the Daoist canon's name for the Zhuangzi):

Regarding the explanation of "bell": When casting musical bells, an altar must first be erected. In ancient times, twelve bells formed a set, hung on a frame in two tiers (called "xuan"), producing variations in pitch.

"Prince Qingji" was a senior official of the Zhou dynasty belonging to the royal clan. The text mentions some considered his behavior overly casual, hence raising questions. "Tonghu" describes a naive manner, "tanghu" indicates unrestrained freedom, while "manghu" refers to an unyielding, intractable character. For such difficult individuals, one should guide them according to their nature rather than forcibly suppress them ("not thwarting").

"Great thoroughfare" means the Dao. Yet even understanding the Dao cannot prevent misfortune, as when Confucius was besieged between Chen and Cai.

In "Taigong Ren," "Taigong" is an honorific for senior officials, with "Ren" being his name. "Fenfenzhizhi" depicts birds flying slowly and low. Some birds dare not roost alone, only squeezing into flocks for meager shelter—this shows extreme caution against harm.

"A person of great accomplishment" refers to sages like Laozi whose vast De (Virtue/Power) can nurture all things. Self-praise ("self-promotion") leads to failure; truly realized persons claim no merit, wearing coarse clothes ("coarse hemp garments") and eating simple fare.

"Zisang Hu" (also written Zisang Hun) was a hermit who repeatedly faced hardship: expelled from Lu, his trees felled in Song, barred from Wei, impoverished in Shang-Zhou territories, and besieged between Chen and Cai—all recorded in the Zhuangzi.

Note: The text extensively employs fanqie phonetic notation (an ancient spelling method), such as "tu-dong qie" indicating the initial consonant of "tu" combined with the final of "dong." These phonetic notes now primarily hold academic research value.

This passage primarily provides annotations and explanations of certain terms from the Nanhua Zhenjing (i.e., Zhuangzi), covering place names, personal names, objects, and actions. Here is the vernacular interpretation:

The phrase "the following follows this pattern in a deliberately archaic and refined manner" indicates that subsequent explanations adhere to this stylistic convention. "A remote town of Jin" refers to an outlying city of the Jin state. Regarding "Lin Hui," Sima Biao (a commentator) identifies him as a name from among the fleeing populace of the Shang dynasty, while Cheng Xuanying (another commentator) considers him a virtuous man. "Cloth" refers to currency, so named because money circulates among the people like cloth.

"Nothing to grasp" is pronounced like "ji," as explained by Li Yi (a commentator), meaning something that cannot be held. "Zhen" (truth) is sometimes written as "zhi" (straight). "Ling" is pronounced as "ling," and Sima Biao interprets it as clarity, referring to the enlightenment of Yu the Great through the true Dao. "Ling" is also sometimes written as "ming" (command) or "ling" (order), where "command" signifies instruction.

In "hidden virtue," "yi" is pronounced as "ji." "Coarse cloth," according to Sima Biao, means rough fabric. "Zhengxie" is pronounced as "xian jie," which Sima Biao explains as a belt. "Tied shoes," as interpreted by Li Yi, means walking with shoes tied because they are worn out. "King of Wei," according to Sima Biao, refers to King Hui of Wei. "Exhausted" is pronounced as "pi bai," and Sima Biao defines it as illness. "Nanmu" is pronounced as "nan," and like catalpa and camphorwood, it is a straight and fine timber. "Grasp" was originally written as "lan," and "vine" is pronounced as "wan." Cheng Xuanying explains "lan wan" as the act of seizing or holding. "Yi" is pronounced as "yi," and "Peng Meng" as "fu gong." Sima Biao states that Yi was an ancient master archer, and Peng Meng was his disciple. "Side glance," as explained by Li Yi, means looking askance. "Withered thorns" is pronounced as "zhang ye," "zhi" as "zhi," and "gou" as "ju"—all referring to thorny trees.

In the "Great Understanding" section: "left hand resting on a withered tree" pronounces "withered tree" as "ku lao," referring to a table; "right hand striking a dry branch" refers to playing the qin. "Yan shi" is pronounced as "bi yao," referring to an ancient ruler of non-action, also identified as Shennong (the Divine Farmer). "Distinctly," according to Sima Biao, means clearly apparent. "Turned gaze" is pronounced as "xuan," meaning to look back. "Arrive," as per Sima Biao, means to reach, though some interpret it as creation. "Diminish" is pronounced as "yi chi." "Extreme constraint" is pronounced as "zhi shi." "Transformation" in the ancient Jiangnan manuscript originally read as "moving things." "Disperse" is pronounced as "xi li," and Sima Biao defines it as emission. "Swallow" is pronounced as "yi er," and Cheng Xuanying identifies it as a swallow. "Where the eye should not linger" is pronounced as "chang lü," referring to places unsuitable for the gaze to dwell—since they have already been discerned by sight, they should be relinquished.

This passage provides commentary on the Nanhua Zhenjing (the Daoist name for the Zhuangzi), primarily explaining obscure characters and allusions in the text. Here is the modern interpretation:

The character "给" in "不给视" is defined in Shuowen Jiezi as "mutual satisfaction," meaning if the position is inappropriate, it's not worth looking at. In "落其实," "实" refers to bird eggs, while "袭" means to enter. "社稷" here metaphorically represents a bird's nest. The character "禅" is pronounced with the "市战" phonetic reading, with Sima Biao's commentary interpreting it as "to bestow" and Cheng Xuanying explaining it as "abdication and succession."

"Diaoling" is the name of a mountain, while "樊" refers to a fence, indicating Zhuangzi wandering within the chestnut grove's enclosure. "运寸" describes something one inch in diameter. In "感周之颡," "颡" means forehead and "感" indicates touching. "翼殷不逝" describes wings too large for flying, while "目大不睹" means eyes that are big yet fail to see clearly.

In "螳螂执翳," "翳" refers to an axe-like covering—the mantis raises its forelimbs as if holding an axe to conceal itself. The "形" in "忘其形" refers to appearance, "身" in "忘其身" to the physical body, and "真" in "忘其真" to one's fundamental nature.

"阳子" refers to Yang Zhu. "逆旅" means an inn, with some versions writing it as "逆旅人." "栗林虞人" are the caretakers of the chestnut grove, with some editions omitting "栗林." "为戮" means to suffer disgrace.

This commentary primarily clarifies the pronunciation and meanings of rare characters in the Zhuangzi, along with variant readings in different editions, aiding readers' comprehension. The annotations reference ancient lexicons like Shuowen Jiezi and Erya, as well as interpretations by scholars such as Sima Biao and Cheng Xuanying.