Front Page Titles (by Subject) BOOK X.: THE ODES OF T'ANG. * - The Shi King, the Old Poetry Classic of the Chinese
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BOOK X.: THE ODES OF T‘ANG. * - Misc (Confucian School), The Shi King, the Old “Poetry Classic” of the Chinese 
The Shi King, the Old “Poetry Classic” of the Chinese. A Close Metrical Translation, with Annotations by William Jennings (London: George Routledge and Sons, 1891).
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THE ODES OF T‘ANG.*
I. x. 1.
SONG OF PEASANTRY AT THE CLOSE OF THE YEAR.
I. x. 2.
ENJOY LIFE’S GOOD THINGS WHILE YOU MAY.
I. x. 3.
HWAN-SHUH AND HIS SECRET BAND.*
I. x. 4.
ADMIRATION OF SOME CHIEF, AND JOY AT BEHOLDING HIS NUMEROUS FAMILY.*
I. x. 5.
AN UNEXPECTED UNION.‡
I. x. 6.
I. x. 7.
COMPLAINT AGAINST A HIGH OFFICIAL.*
I. x. 8.
I. x. 9.
A HAUGHTY USURPER’S PETITION TO THE KING FOR CONFIRMATION OF HIS POSITION.*
I. x. 10.
TOO POOR TO ENTERTAIN.§
I. x. 11.
A WIDOW’S SORROW AND DEVOTION.
I. x. 12.
MIND NOT IDLE TALES.
[* ]One of the oldest and greatest of the feudal States. Its name was at an early date,—earlier perhaps than that of these poems,—changed to Tsin, the latter taken from the river Tsin, which flowed to the south of it. It lay in the present province of Shan-si.
[† ]For the time of the appearance of the cricket in the house, see the Odes of Pin, I. xv. 1, verse 5.
[* ]Here is an instance where the introductory lines seem to have absolutely no connection with the subject, and only supply words to rhyme with.
[* ]Ch’âu, lord of Tsin (bc 744-738) had handed over to his uncle Hwan the important city of K‘iu-yuh; and the growing popularity of the latter led to a conspiracy by which it was sought to bring the whole State under his rule. The above is the song of the secret followers of Hwan, addressed to one of his captains.
[† ]i.e., the power of Ch‘âu is greatly weakened.
[‡ ]The robe described in the two first stanzas is the sacrificial robe of a ruling prince.
[§ ]Yuh is the K‘iu-yuh mentioned above.
[∥ ]Kâu was another city in the vicinity.
[* ]Supposed to refer to Hwan-shuh (see last Ode), and his house.
[† ]The pepper-plant is in China an emblem of prolificness; but it may be that this Ode originally suggested it. It might even, taken with the last Ode, refer simply to the number of Hwan’s constituents.
[‡ ]Why unexpected is a question not yet settled. All that the Ancient Preface says is that the piece is directed against the disorders of the State, and that owing to such disorders it was impossible for the people to marry at the proper season, i.e. in the Spring.
[* ]Lit., at an angle. The three positions in the stanzas seem to point to the time of night—first high, then declining, and lastly setting.
[† ]The contrast should be noted.
[* ]This is one of the most perplexing pieces. In the Ancient Preface we are told that it is directed against the times, and that the people of Tsin thus stigmatized those who were in exalted positions and who failed to show compassion to them. But the question is, to whom is it addressed? I cannot but agree with Victor von Strauss in his opinion that the people are appealing to the ruler to make some change in his own interests. There is then some sense in the 3rd and 4th lines.
[† ]So, according to the Urh-ya.
[* ]Said to have been written in a time of incessant warfare, when of course agriculture was neglected and the parents left to live as they could.
[† ]The fluttering of the birds would seem to represent the restless movements of the army, and also, as these particular birds were not wont to light on trees, having no hind-claws, their difficulty in doing so is an apt image of the peasant engaged in soldiering.
[* ]Duke Wu, the grandson of Hwan of K‘iu-yuh (see Ode 3), having become, in the year 678 bc, complete master in the State of Tsin, sent to the king some of his ill-gotten treasures as a bribe, and was thereupon invested legally with the rulership.
[† ]Seven of the ten royal orders were worn by a feudal prince in his own State; six when he was serving at Court as the king’s minister.
[‡ ]Tsze for T‘ien tsze, Son of Heaven. So Chu-Hi. The king was Li, alias Hi (bc 681-676).
[§ ]Originally supposed to be a satire on Duke Wu (see last Ode), who dwelt by himself and would not entertain the worthy men around him,—a view now given up.
[∥ ]An image of the writer himself.
[* ]These last lines do not rhyme in the original.
[† ]The Kŏ. These lines seem to point to conjugal affection, or protection.
[‡ ]“The lone one” might mean either the dead husband or the widow.
[§ ]It is usual still in China to use hard pillows of wood or other material, upon which the upper part of the neck rests without disarranging the elaborately dressed hair.
[* ]The word (kwai) is used, as if the bridal journey was to be taken over again.
[† ]On this particularly barren mountain none of these things ever grew. As likely were they to be found there as that truth should be found in idle gossiping stories. These opening lines may not really be interrogative, but by taking them so the sense becomes more apparent.
[* ]See note on previous page.