The Examination of Ancient Chinese People’s Aesthetic Inclination by Looking at the Moral of “Ospreys”

Confucianist of the Han Dynasty took the crying together of male and female ospreys in the the song “Fair, cry the ospreys” of the Book of Songs or Poetry (Shijing)as the harmonious relations of husband and wife. From Kongying of the Tang dynasty to Zhuxi of the Northern Song dynasty, as well as notes and commentaries of the Book of Songs or Poetry (Shijing) up to now, all have followed such an explanation. As a matter of fact, such an explanation is a wrong. What should be pointed out is: The moral of the line “"Fair, fair," cry the ospreys on the island in the river.”is not singing praise of the virtues of the girl to “attract the male’s attention”, nor does it mean the beautiful singing of the ospreys and the Spring aroma have aroused the romantic feelings of the girl and the gentleman. On the contrary, it is the picture of ospreys catching and enjoying fish in the river that aroused the gentleman’s desire to court the girl. On the basis of this understanding we can see that, in explaining the Book of Songs or Poetry (Shijing), later generations have demonstrated a romantic aesthetic inclination. Keywords: Ospreys, Moral, Aesthetic inclination Résumé Les intellectuels des Hans ont interprété le cri d’un couple d’orfraies dans Les Orfraies, Le Livre des odes comme la bonne entente d’un couple. Kong Yinda, Zhu Xi, et la plupart des commentataires d’aujourd’hui ont tous adopté cette interprétation. Mais c’est un malentendu. « Guan ! Guan ! crient les orfraies, sur l’île de la rivière », cette première ligne ne chante pas la vertu de la femme de l’empereur Wen de la dynastie des Zhous, ni signifie que le chant des orfraies et l’atmosphère du printemps excitent la belle fille et le gentleman, mais que l’image des orfraies qui mangent les poissons soulève le désir du gentleman de chercher son épouse. D’où on peut constater que les commentataires ont manifesté une tendance esthétique romantiste en commentant Le Livre des odes. Mots-clés: orfraies, métaphore, tendance esthétique 摘要 漢儒將《詩經•關雎》中雎鳩雌雄和鳴比喻成夫妻和諧相處 , 從孔穎達到朱熹，以及至今大量的《詩經》注本都在沿襲著漢儒的解釋。這一詮釋實際上是一種誤解。應該修正的是：“關關雎鳩，在河之洲”的興義，既不是美後妃之德，不是“以義鳴其雄”，也不是指好鳥的和鳴﹑春天的氣息，喚起淑女和君子，而是雎鳩在河洲食魚的景象，喚起了君子求偶于淑女的願望。基於這種認識，可以看出，後人在詮釋《詩經》時表現出一種浪漫主義審美傾向。 關鍵詞：雎鳩；喻意；審美傾

《大雅》〈大明〉高注斠正

高本漢 (Bernhard Karlgren, 1889 -1978)，瑞典人，是著名的漢學家。在1942至1946年間，高氏於《遠東博物館館刊》(Bulletin of the Museum of Far Eastern Antiquities)以英文發表了有關《詩經》的注釋，分別題為“ Glosses on the Kuo feng odes”、“Glosses on the Siao ya odes”和“Glosses on the Ta ya and Sung odes”。高氏運用了科學和系統的方法，對《詩經》作出完整而深入的探釋，其中不乏精微獨造，突過前人之見。董同龢 (1911-1963) 將此三文結合成書，譯成中文，題為《高本漢詩經注釋》，於1960年出版。高氏的《詩經注釋》勝義甚多，是學術價值極高的著作，然智者千慮，必有一失，像《大雅》〈大明〉篇高注十九條，其中可商者四。茲列如下，以就正於方家

Ritual Awareness, Symbolism and Creativity in Shi Jing Poetics

For more than two thousand years, the collection of poetry simply referred to as the Shi Jing, (“The Classic of Poetry”, “Book of Odes” or “Book of Songs”), has shaped the Chinese literary landscape. The classic is one of the central influences on the development of later Chinese poetry, and can appropriately be considered a major contributor to the habits of expression, imagery and structure which remained dominant until the nineteenth century

上古漢語伴隨動詞的語法化探究

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A refutation of Song's (2014) explanation of the 'stop coda problem' in Old Chinese

Song (2014) draws renewed attention to the problem of groups of Chinese words in which the character used to write one of the words has a stop final reading in Middle Chinese but the character used to write another of the words has an open syllable reading in Middle Chinese, although the two seem to have a shared a rime in Old Chinese. She offers a new solution employing the reconstruction of voiced and voiceless stop finals in the shared ancestor of Chinese and Tibetan. Every step in Song's reasoning is faulty and nearly every claim she makes about Tibetan is false. Haudricourt long ago solved the 'stop coda problem' (1954)