THE SACRED BOOKS OF THE EAST 23

THE SACRED BOOKS OF THE EAST 23

2. The wailing of one wearing the sackcloth for his father seems to go forth in one unbroken strain ; 1 See the introductory notice, vol. xxvii, pp. 48, 49. 2 The 3 s u ( "§*. ) * s commonly understood to be the female plant of hemp, and the hst (^) the male plant; though some writers reverse the application of the names. The fibres of both are dark coloured, those of the female plant being the darker. The cloth woven of them was also of a coarser texture. All admit that the subject here is the mourning band for the head ; the staffs borne in the two cases corresponded in colour to the band. [28] C C ?&6 THE LI kI. BK. xxxiv. d that of one wearing the sackcloth for a mother is now and then broken ; in the mourning of nine months, after the first burst there are three quavers in it, and then it seems to die away ; in the mourning of five and three months, an ordinary wailing is sufficient. These are the manifestations of sorrow in the modulations of the voice l . 3. When wearing the sackcloth for a father, one indicates that he hears what is said to him, but does not reply in words ; when wearing that for a mother, he replies, but does not speak of anything else. During the nine months' mourning, he may speak of other things, but not discuss them ; during that for five months or three months, he may discuss other things, but does not show pleasure in doing so. These are the manifestations of sorrow in speech. 4. When a mourner has assumed the sackcloth for a father, for three days he abstains from food ; for a mother, for two days. When he has commenced the nine months' mourning, he abstains from three meals; in that of five months or of three, for two. When an ordinary officer takes part in the dressing (of a friend's Corpse), he abstains from one meal. Hence at the mourning rites for a father or mother, when the coffining takes place, (the children) take gruel made of a handful of rice in the morning, and the same quantity in the evening. During all the rites for a mother, they eat coarse rice and drink only water, not touching vegetables or fruits. During the nine months' mourning (the mourners) do not eat pickles or sauces ; during that of five months or three, they do not drink prepared liquor, either new or old. 1 I have read something of the same kind as this account of the ' wailing ' in descriptions of the ' keening ' at an Irish wake. BK. XXXIV. 2HEN 5TWAN. 387 These are the manifestations of sorrow in drinking and eating. 5. In the mourning rites for a parent, when the sacrifice of repose has been presented, and the wailing is at an end, (the mourners) eat coarse rice and drink water, but do not take vegetables or fruits. At the end of a year, when the smaller felicitous sacrifice has been offered, they eat vegetables and fruits. After another year, when the greater sacrifice has been offered, they take pickles and sauces. In the month after, the final mourning sacrifice is offered, after which they drink the must and spirits. When they begin to drink these, they first use the must ; when they begin to eat flesh, they first take that which has been dried. 6. During the mourning rites for a parent, (the son) occupied the mourning shed, and slept on straw with a clod for his pillow, without taking off the headband or girdle. If they were for a mother (only, and the father were still alive), he occupied the unplastered chamber, (sleeping on) typha rushes with their tops cut off, but not woven together. During the mourn- ing for nine months, there was a mat to sleep on. In that for five months or for three, it was allowed to use a bedstead. These were the manifestations of sorrow given in the dwelling-places. 7. At the mourning rites for a parent, after the sacrifice of repose, and when the wailing was con- cluded, the (inclined) posts of the shed were set up on lintels, and the screen (of grass) was clipped, while typha rushes, with the tops cut off, but not woven together, (were laid down for a mat). At the end of a year, and when the smaller felicitous sacrifice had c c 2 388 THE Lt Kl. BK. XXXIV. been offered, (the son) occupied the unplastered chamber, and had a mat to sleep on. After another year, and when the greater felicitous sacrifice had been offered, he returned to his old sleeping apart- ment. Then, when the final mourning sacrifice was offered, he used a bedstead. 8. The mourning with jagged edges was made with 3 shang of hempen threads, each shang con- taining 8 1 threads ; that with even edge, with 4, 5, or 6 shang; that for the nine months' mourning with 7, 8, or 9 shang ; that for the five months, with 10, 11, or 12 shang; that for the three months, with 15 shang less the half 1 . When the thread was mani- pulated and boiled, no such operation was performed on the woven cloth, and it was called sze (or the material for the mourning of three months). These were the manifestations of sorrow shown in the fabrics of the different mournings. 9. The sackcloth with jagged edges (worn at first) was made with 3 shang, but after the sacrifice of repose when the wailing was over, this was exchanged for a different fabric made with 6 shang, while the material for the cap was made with 7 shang. The coarse sackcloth for a mother was made with 4 shang, exchanged for a material made with 7 shang, while the cap was made with one of 8 shang. When the hempen dress is put away (after the burial), grass-cloth is worn, the sash of it being made of triple twist. At the end of the year, and when the first felicitous sacrifice has been offered, (the son) puts on the cap of dyed silk proper to that 1 Kb Hsi says, 'Inexplicable!' bk. XXXIV. JHEN ffWAN. 389 sacrifice, and the red collar, still retaining the sash and headband. A son begins at the head, and a woman with the girdle, in putting off their mourning. What is the reason ? Because a man considers the head the most important to him, and a woman the waist. In laying aside the mourning, they began with the most important ; in changing it, with what was least. At the end of the second year, and when the greater felicitous sacrifice had been offered, the cap and dress of plain hempen cloth was assumed. After the concluding sacrifice of mourning, in the next month, the black cap and silk of black and white were put on, and all the appendages of the girdle were assumed. 10. Why is it that in changing the mourning they (first) changed what was the lightest ? During the wearing of the sackcloth with jagged edges for a father, if when, after the sacrifice of repose and the end of the wailing, there came occasion to wear the even-edged sackcloth for a mother, that, as lighter, was considered to be embraced in the other, and that which was most important was retained. After the sacrifice at the end of the year, when there occurred occasion for the mourning rites of nine months, both the sackcloth and grass-cloth bands were worn. During the wearing of the sackcloth for a mother, when, after the sacrifice of repose and the end of the wailing, there came occasion to wear the mourning for nine months, the sackcloth and grass- cloth bands were worn together. The grass-cloth band with the jagged-edged sack- cloth and the hempen band with the even-edged 190 THE Li kL bk. xxxiv sackcloth were of the same value. The grass-cloth with the even-edged sackcloth and the hempen band of the nine months' mourning were of the same value. The grass-cloth with the nine months' mourning and the hempen band with that of five months were of the same value. The grass-cloth with the five months' mourning and the hempen with that of three months were of the same value. So they wore them together. When they did so, that which was the lighter was changed first. BOOK XXXV. SAN NIEN WAN OR QUESTIONS ABOUT THE MOURNING FOR THREE YEARS \ i . What purposes do the mourning rites for three years serve ? The different rules for the mourning rites were established in harmony with (men's) feelings. By means of them the differences in the social relations are set forth, and the distinctions shown of kindred as nearer or more distant, and of ranks as more noble or less. They do not admit of being diminished or added to ; and are therefore called c The un- changing rules.' 2. The greater a wound is, the longer it remains ; and the more pain it gives, the more slowly is it healed. The mourning of three years, being appointed with its various forms in harmony with the feelings (produced by the occasion of it), was intended to mark the greatest degree of grief. The sackcloth with jagged edges, the dark colour of the sackcloth and the staff, the shed reared against the wall, the gruel, the sleeping on straw, and the clod of earth for a pillow : — these all were intended to set forth the extremity of the grief. 3. The mourning of the three years came really to an end with (the close of) the twenty-fifth month. The sorrow and pain were not yet ended, and the 1 See the introductory notice, vol. xxvii, pp. 49, 50. 392 THE li kL bk. xxxv. longing loving thoughts were not yet forgotten ; but in the termination of the mourning dress in this way, was it not shown that there should be an end to the duties rendered to the dead, and that the time was come for the resumption of their duties to the living ? 4. All living creatures between heaven and earth, being endowed with blood and breath, have a certain amount of knowledge. Possessing that amount of knowledge, there is not one of them but knows to love its species. Take the larger birds and beasts : — when one of them has lost its mate, after a month or a season, it is sure to return and go about their old haunts. It turns round and round, utters its cries, now moves, now stops, and looks quite em- barrassed and uncertain in its movements, before it can leave the place. Even the smaller birds, such as swallows and sparrows, chatter and cry for a little before they can leave the place. But among all creatures that have blood and breath, there is none which has intelligence equal to man ; and hence the feeling of man on the death of his kindred remains unexhausted even till death. 5. Will any one follow the example of those men who are under the influence of their depraved lusts? In that case, when a kinsman dies in the morning, he will forget him by the evening. But if we follow the course of such men, we shall find that they are not equal to the birds and beasts. How can they live with their kindred, and not fall into all dis- orders ? 6. Will he rather follow the example of the superior man who attends to all the methods by which the feeling of grief is set forth ? In that case, the bk. xxxv. SAN NIEN WAN. 393 twenty-five months, after which the mourning of three years comes to an end, will seem to pass as quickly as a carriage drawn by four horses is whirled past a crevice. And if we continue to indulge the feeling, it will prove to be inexhaustible. 7. Therefore the ancient kings determined the proper medium for mourning, and appointed its definite terms. As soon as it was sufficient for the elegant expression of the varied feeling, it was to be laid aside. 8. This being the case, how is it that (in certain cases the mourning lasts) only for a year ? The answer is, that in the case of the nearest kindred, there is a break in it at the end of a year. 9. How is that ? The answer is : — The inter- action of heaven and earth has run its round ; and the four seasons have gone through their changes. All things between heaven and earth begin their processes anew. The rules of mourning are intended to resemble this. 10. Then how is it that there are three years' mourning (for a parent) ? The answer is : — -From the wish to make it greater and more impressive, the time is doubled, and so embraces two round years. 11. What about the mourning for nine months' and the shorter periods? The answer is : — It is to prevent such mourning from reaching (the longer periods). 12. Therefore the three years should be consi- dered as the highest expression of grief in mourning; the three months and five months, as the lowest ; while the year and the nine months are between them. Heaven above gives an example ; earth beneath, a law ; and man between, a pattern. The o 94 THE LI Kl. BK. XXXV. harmony and unity that should characterise men living in their kinships are hereby completely shown. 13. Thus it is that in the mourning of three years the highest forms that vary and adorn the ways of men are displayed. Yes, this is what is called the richest exhibition (of human feelings). 14. In this the hundred kings (of all the dynasties) agree, and ancient and modern customs are one and the same. But whence it came is not known. 15. Confucius said, 'A son, three years after his birth, ceases to be carried in the arms of his parents. The mourning of three years is the universal rule of all under heaven.' BOOK XXXVI. SHAN 1 OR THE LONG DRESS IN ONE PIECE 1 . 1. Anciently the long dress had definite measure- ments, 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 pur- pose of salutation) in the most elegant form. The 1 See the introductory notice, vol. xxvii, p. 50. 396 THE Li k\. BK. xxxvi. 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 Yi, ' The movement indicated by the second line in Khwan, divided, is "from the straight (line) to the square V 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 dresses 2 . 6. For ornament, while his parents and grand- parents 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 son 3 , 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 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 Kang says that a son whose father was dead was called ' an orphan son ' up to thirty. BOOK XXXVII. thAu hO or THE GAME OF PITCH-POT 1 . i. According to the rules for Pitch-pot, the host carries the arrows in both his hands put together; the superintendent of the archery carries in the same way the stand 2 on which the tallies were placed; and an attendant holds in his hand the pot. 2. The host entreats (one of the guests), saying, ' I have here these crooked 3 arrows, and this pot with its wry 3 mouth ; but we beg you to amuse yourself with them.' The guest says, ' I have partaken, Sir, of your excellent drink and admirable viands ; allow me to decline this further proposal for my pleasure.' The host rejoins, ' It is not worth the while for you to decline these poor arrows and pot; let me earnestly beg you to try them.' The guest re- peats his refusal, saying, ' I have partaken (of your entertainment), and you would still further have me enjoy myself; — I venture firmly to decline.' The host again addresses his request in the same words, and then the guest says, ' I have firmly declined what you request, but you will not allow me to refuse ; — I venture respectfully to obey you.' 1 See the introductory notice, vol. xxvii, pp. 50, 51. 2 This was a small stand or tray, with the figure of a stag (or some other animal, according to the rank of the party) carved in wood and put down on it, with a tube by its side in which the tallies were to be placed. 3 These are merely the customary terms of depreciation in which a Chinese speaks of his own things. 398 THE Li KI. BK. XXXVII. The guest then bows twice, and signifies that he will receive (the arrows). The host wheels round, saying, 'Let me get out of the way;' and then at the top of the steps on the east, he bows to the guest and gives him the arrows. The guest wheels round, and says, 'Let me get out of the way 1 .' 3. (The host) having bowed, and received the arrows (for himself), advances to the space between the two pillars. He then retires, and returns to his station, motioning also to the guest to go to his mat (for pitching from). 4. The superintendent of the archery comes for- ward, and measures the distance of the pot (from the mats), which should be a space of the length of two and a half arrows. He then returns to his station, sets forth the stand for the tallies, and with his face to the east, takes eight counters and stands up. He asks the guest to pitch, saying, 'When the arrow goes straight in, it is reckoned an entry. If you throw a second (without waiting for your opponent to pitch), it is not reckoned.' The victor gives the vanquished a cup to drink ; and when the cups of decision have been dispatched, the superintendent begs to set up what he calls ' a horse ' for the victor. If he set up one horse, then a second, and finally a third, he begs to con- gratulate the thrower on the number of his horses. He asks the host to pitch in the same way, and with the same words. 5. He orders the cithern-players to strike up 1 From this point to the end of the paragraph, it is very difficult to make out from the text the sequence of proceedings between the host and guest. ' The pitching/ say the ^7/ien-lung editors, ' has been agreed on.' BK. xxxvn. THAU HU. 399 'The Fox's Head,' with the same interval between (each repetition of the tune), and the director of the music answers, ' Yes.' 6. When the superintendent announces to them on the left and right that the arrows are all used up, he requests them to pitch again. When an arrow enters, he kneels, and puts down a counter. The partners of the guest are on the right, and those of the host on the left. 7. When they have done pitching, he takes up the counters, and says, ' They have done pitching, both on the left and right ; allow me to take the numbers.' He then takes the numbers two by two, and leaves the single counters. After this he takes the single counters, and gives the announcement, saying, ' Such and such a side has the better by so many doubles, or naming the number of the singles/ If they are equal, he says, 'Left and right are equal.' 8. He then orders the cups to be filled, saying, ' Let the cup go round,' and the cup-bearer (of the successful side) replies, ' Yes.' Those who have to drink all kneel, and raising their cups with both hands, say, 'We receive what you give us to drink/ The victors (also) kneel and say, 'We beg respect- fully to refresh you.' 9. When this cup has gone round, according to rule, (the superintendent) asks leave to exhibit the 'horses' (of the victorious side). Each 'horse' stands for so many counters. (He who has only) one 'horse' gives it to him who has two, to congratulate him (on his superiority). The usage in congratulating (the most successful) is to say,. ' Your three " horses " are all here ; allow me to congratulate you on their number.' The guests and host all express their 400 THE Li kL bk. xxxvii. assent. The customary cup goes round, and the superintendent asks leave to remove the ' horses.' 10. The number of the counters varies according to the place in which they kneel (when playing the game). (Each round is with 4 arrows.) (If the game be in) the chamber, there are 5 sets of these ; if in the hall, 7 ; if in the courtyard, 9. The counters are 1 cubit 2 inches long. The neck of the pot is 7 inches long ; its belly, 5 ; and its mouth is 2 J inches in diameter. It contains a peck and 5 pints. It is filled with small beans, to prevent the arrows from leaping out. It is distant from the mats of the players, the length of 2\ arrows. The arrows are made of mulberry wood, or from the zizyphus, without the bark being removed. 11. In Lu, the young people (taking part in the o-ame) were admonished in these words, ' Do not be rude; do not be haughty; do not stand awry; do not talk about irrelevant matters ; for those who stand awry, or speak about irrelevant matters, there is the regular (penal) cap.' A similar admonition in Hsieh was to this effect : — ' Do not be rude ; do not be haughty ; do not stand awry ; do not speak about irrelevant matters. Those who do any of these things must pay the penalty.' 12. The superintendent of the archery, the over- seer of the courtyard, and the capped officers who stood by, all belonged to the party of the guest. The musicians and the boys who acted as attendants, all belonged to the party of the host. 13. There follows after this what appears to be a repre- sentation of the progress of a game by means of small circles and squares. The circles indicating blows on a small drum BK. xxxvn. THAU HU. 401 called phi, and the squares, blows on the larger drum (ku) ; — according, we may suppose, to certain events in the game. The 'drum' marks are followed by what are called ' halves ' or semis. The representation is : — Semis. Drums. OODO OOOO □ □OD □ □ □ □ o □ o o o □ o Then follows the representation of a game in Lu : — Semis. Lu drums. OO O □ □ O O □ □ □ O O □ □ □ O □ □ O □ O O O O O □ O O There is then a remark that in the Hsieh drums the semi marks were used for the game of pitch-pot, and all the marks for the archery game ; and then we have Duke Ai of Lu asked Confucius, saying, ' Is not the dress, Master, which you wear that of the scholar 2 ?' Confucius replied, 'When I was little, I lived in Lu, and wore the garment with large sleeves ; when I was grown up, I lived in Sung, and was then capped with the /￡ang-fu cap 3 . I have heard that the studies of the scholar are extensive, but his dress is that of the state from which he sprang. I do not know any dress of the scholar.' 2. The duke said, 'Allow me to ask what is the conduct of the scholar.' Confucius replied, ' If I were to enumerate the points in it summarily, I could not touch upon them all ; if I were to go into details on each, it would take a long time. You would have changed all your attendants-in-waiting before I had concluded 4 .' The duke ordered a mat 1 See the introductory notice, vol. xxvii, pp. 51, 52. 2 Callery renders Zvl here by ' le Philosophe.' Evidently there was in Confucius' time a class of men, thus denominated, dis- tinguished by their learning and conduct. The name first occurs in the Kfai Li. It is now used for the literati of China, the followers of Confucius, in distinction from Taoists and Buddhists. 3 See vol. xxvii, page 438, paragraph 3. Confucius' ancestors belonged to the state of Sung, the representative of the ancient Yin. 4 It was the custom for a ruler to change his attendants-in- waiting, so as not to overtire any. bk. xxxviii. ZU HSING. 403 to be placed for him, and Confucius took his place by his side. 3. He then said, 'The scholar has a precious gem placed upon its mat, with which he is waiting to receive an invitation (from some ruler) 1 ; early and late he studies with energy, waiting to be questioned. He carries in his bosom leal-heartedness and good faith, waiting to be raised (to office) ; he is vigorous in all his doings, waiting to be chosen (to employment): — so does he establish his character and prepare himself (for the future). 4. ' The scholar's garments and cap are all fitting and becoming ; he is careful in his undertakings and doings : in declining great compliments he might seem to be rude, and in regard to small compliments, hypocritical ; in great matters he has an air of dignity, and in small matters, of modesty ; he seems to have a difficulty in advancing, but retires with ease and readiness ; and he has a shrinking appearance, as if wanting in power: — such is he in his external appearance. 5. ' The scholar, wherever he resides, ordinarily or only for a time, is grave as if he were apprehensive of difficulties ; when seated or on foot, he is courteous and respectful ; in speaking, his object is, first of all, to be sincere ; in acting, he wishes to be exact and correct ; on the road, he does not strive about the most difficult or easiest places ; in winter and summer, he does not strive about the temperature, the light and shade ; he guards against death that he may be in waiting (for whatever he may be called to) ; he attends well to his person that he may be 1 Compare Analects IX, 12. The gem is the scholar's virtue,— his character and capacities.