Front Page Titles (by Subject) BOOK XXXVI.: SHĂN Î OR THE LONG DRESS IN ONE PIECE 1 . - The Sacred Books of China. The Texts of Confucianism, Part IV. The Li Ki, XI-XLVI
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BOOK XXXVI.: SHĂN Î OR THE LONG DRESS IN ONE PIECE 1 . - Misc (Confucian School), The Sacred Books of China. The Texts of Confucianism, Part IV. The Li Ki, XI-XLVI 
The Sacred Books of the East translated by Various Oriental Scholars and Edited by Max Müller (Oxford: Clarendon Press, 1879-1910). Vol. XXVIII: The Sacred Books of China. The Texts of Confucianism, translated by James Legge. Part IV. The Li Ki, XI-XLVI (Oxford: Clarendon Press, 1885).
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SHĂN Î OR THE LONG DRESS IN ONE PIECE1 .
1. Anciently the long dress had definite measurements, so as to satisfy the requirements of the compass and square, the line, the balance, and the steelyard. It was not made so short as to show any of the skin, nor so long as to touch the ground. The outside pieces of the skirt joined, and were hooked together at the side; (the width of) the seam at the waist was half that at the bottom (of the skirt).
2. The sleeve was joined to the body of the dress at the arm-pit, so as to allow the freest movement of the elbow-joint; the length of the lower part admitted of the cuffs being turned back to the elbow. The sash was put on where there were no bones, so as not to interfere with the action of the thighs below or of the ribs above.
3. In the making (of the garment) twelve strips (of the cloth) were used, to correspond to the twelve months. The sleeve was made round, as if fashioned by a disk. The opening at the neck was square, as if made by means of that instrument so named. The cord-like (seam) at the back descended to the ankles, as if it had been a straight line. The edge at the bottom was like the steelyard of a balance, made perfectly even.
4. In this way through the rounded sleeves the arms could be lifted up in walking (for the purpose of salutation) in the most elegant form. The cord-like seam of the back and the square-shaped collar about the neck in front, served to admonish (the wearer) how his government should be correct and his righteousness on the square. It is said in the Yî, ‘The movement indicated by the second line in Khwăn, divided, is “from the straight (line) to the square1 .” ’ The even edge at the bottom, like the steelyard and balance, admonished him to keep his will at rest, and his heart even and calm.
5. These five rules being observed in the making (of the dress), the sages wore it. In its squareness and roundness they saw its warning against selfishness; in its line-like straightness they saw its admonition to be correct, and in its balance-like evenness they saw its lesson of impartiality. Therefore the ancient kings attached a high value to it; it could be worn in the discharge of both their civil and military duties; in it they could receive visitors and regulate the cohorts of their armies. It was complete, but not extravagant; it ranked in the second class of good dresses2 .
6. For ornament, while his parents and grandparents were alive, (a son) wore the dress with its border embroidered. If (only) his parents were alive, the ornamental border was blue. In the case of an orphan son3 , the border was white. The border round the mouth of the sleeves and all the edges of the dress was an inch and a half wide.
[1 ]See the introductory notice, vol. xxvii, p. 50.
[1 ]See the symbolism of the second line of the 2nd Hexagram, and especially the lesser symbolism in the 2nd Appendix, from which the quotation is made;—vol. xvi, pages 60 and 268.
[2 ]That is, next after the court and sacrificial robes.
[3 ]Kăng says that a son whose father was dead was called ‘an orphan son’ up to thirty.