Why are the Nine Songs 11? Please answer

An Examination of the Title of the Nine Songs

My Cantonese Note: The question of the title of the Nine Songs is a millennial problem in Chu Rhetoric. Since the Northern Song Dynasty, many distinguished scholars have made very useful explorations of it, which are inspiring and have indicated many feasible paths for the study of the problem. Scholars who have made outstanding contributions to the study of this problem include Chao T'ai Chi, Chu Hsi, Zhou Yu, Hu Wenying, Chiang Chi, Wang Bangcai, Wu Shishang, Gu Chengtian, Liu Mengpeng, Aoki Ching'er, Chen Zizhan, Mei Qionglin, Huang Wenhuan, Lin Yunming, Zhu Ji, He Yisun, Lin Geng, Hsu Chih-hsiao, Wang Wang Yuan, Pan Tsao-lung, Lu Shi-yong, Li Kwang-ti, Hsu Huan-lung, Chou Chien, Zhang Shou-ping, Huang Feng-xien, Fang Ming, Chien Ch'ien-ch'ien, Wang Lu-yun, Xu Ying, Liu Yong-ji, Tan Jie-chi, and Wu Shih-shang, who are all scholars of the Northern Song Dynasty, and have been responsible for the study of this problem. Liu Yongji, Tan Jiefu, Li Yanling, Cheng Jiazhe, Huang Lusheng, Li Xiusheng, Wu Longhui, Guoguanghong, Zhu Dongrun, Li Qingshi, Wen Yiduo, Zheng Zhenduo, Jiang Liangfu, Sun Zuoyun, Xiaobing, Chen Shichang, Wang Fuzhi, Qu Fuxu, Liang Qichao, Zhi Weicheng, Lu Kanru, Feng Yuanjun, You Guo'en, Dong Chuping, Yuan Meiyi, Yao Kuan, Yang Shen, Wu Jingxu, Ji Yun, Ma Qichang, Zhang Yuanxun, Liu Shusheng, He Xin, Chu Binjie, Ju Kuan, Guo Moruo, Gong Wei-ying, Yi Chonglian, Lin He, Liu Zibing, Wu Mengfu, Xia Peiwen, Hong Xingzu, Jin Kaicheng, Dong Hongli, Gao Luming, Lei Qingyi, Wang Siyuan, Zhang Peiheng, Luo Yuming, Tong Bingzheng, Tang Zhangping, Wen Meixian, Ishikawa Misako, Wei Jiongruo, Ma Maoyuan, Li Daming, Li Cheng, Xiong Liangzhi, and Nie Shicao. Among these ancient and modern Chinese and foreign scholars, there is no lack of superb masters such as Zhu Xi, Yang Shen, Wang Fuzhi, Ji Yun, Liang Qichao, and so on, and there is no lack of scholars such as Hong Xingzu, Wang Won, Jiang Ji, Liu Yongji, Wen Yiduo, Jiang Liangfu, Tang Bingzheng, Chu Binjie, Xu Zhixiao, Fang Ming, Nie Shiqiao, Pan Xiaolong, Luo Yuming, Xiaobing, Jin Kaicheng, Gao Luming, Lei Qingyi, Xiong Liangzhi, Huang Fenghsiang, Zhou Jian, Dong Chuping, Yi Chonglian, and Tang Zhangping, Mei Qionglin, Guo Guanghong, Li Cheng and other first-class celebrities. My humble self in many former scholars on the basis of a large number of research results, a little peep, into this article, I do not pretend to be humble, in order to be correct in the generous family. However, I have always been convinced that the "Nine Songs" is essentially a textual problem, should be solved by positivist methods, as long as along the line of thought provided by the article, collect a wider range of literature, the views of the article will be more fully proved. December 19, two hundred and seventeen, I Guangdong people in ancient Zhenzhou of I also love my hut.

Abstract: this paper through the analysis of Wang Yi "Chu Rhetoric Chapter and Verse", five ministers "Selected Wenzheng" note, Pi Rixiu "nine irony", Hong Xingzu "Chu Rhetoric Supplementary Note", proved that the original Qu Yuan "nine songs" of the body of nine pieces of work plus a chaotic rhetoric, these nine pieces of work is "East Emperor Taiyi", "cloud in the middle of the king," Xiangjun "Xiang," Xiangfujian "Xiangfujian"," Dazimian "," Shao Sishimian "Dongjun "," Hebe

Keywords: "The Nine Songs", "National Gothic", "Soul of Rites", "Chuci zhangju", Wuchen Note, "Nine Ironies"

An Investigation of the Table of Contents of the Jiuge

Abstract: The article analyzes on the Chuci zhangju by Wang Yi,the Wuchenzhu of the Wenxuan,the Jiufeng by Pi Rixiu and the Chuci buzhu by Hong Xingzu,verifies that the style of the Jiuge by Dongjun,Hebo,Shangui,except Guoshang. The Lihun, a new edition , originally written without any title,is the epilogue in the Jiuge.The very word of Lihun 礼魂 was put at the center of the Jiuge. The very word of Lihun 礼魂 was put at the beginning of the epilogue.

Key words: Jiuge,Guoshang,Lihun, Chuci zhangju,Wuchenzhu,Jiufeng

Preface

Quyuan's "Nine Songs" is entitled "Nine Songs". Nine Songs is titled "Nine Songs", but it includes "Donghuang Taiyi", "Yunzhongjun", "Xiangjun", "Xiangfuwu", "Dasiming", "Shaoximing", "Dongjun", "Hebo", "Mountain Ghosts", "Guozhongjun", and "Ritual Souls", a total of **** eleven pieces. For the "Nine Songs" title name does not match the problem, ancient and modern scholars have carried out a variety of explanations. However, there are many different opinions, and so far there has not been a final conclusion. This paper attempts to contribute to the solution of this problem.

Chao Shuizhi of the Northern Song Dynasty was the first to raise the question of the discrepancy between the names of the titles of the Nine Songs. He said in "Re-editing Chu Rhetoric - Li Sao new preface":

"Han Shu" Zhi "Qu Yuan Fu" twenty-five, today, from the "Li Sao", "far away", "Tianwen", "Buju", "Fisherman's Father", "Da Zhuo" and six, "Nine Chapters", "Nine Songs" and eighteen, then the "original fugue" survived twenty-four ear. And "State Gothic", "Rites and Spirits" in the "Nine Songs" outside, for eleven, then overflow for twenty-six. I don't know why "National Gothic" and "The Soul of Rites" were written after "Nine Songs". The first is that it is not possible to combine the eleven with the nine.

Chao Shuizhi was puzzled by the text of the Nine Songs as he saw it, and raised the question of the title of the Nine Songs, but he could not, strictly speaking, be considered to have given a clear explanation of the problem he had raised.

Southern Song Dynasty Zhu Xi in the "Chu Rhetoric Annotated" attached to the "Chu Rhetoric Dialectic" said:

The name of the chapter "nine songs", but the actual ten have a chapter, the cover can not be known, the old nine for the number of yang, especially for the diffraction of the said.

Ju Xi expressed doubts about this issue, the attitude is very rigorous. He also criticized the Yang Jiu said, but did not explain the reasons. The view that "it is not the urgency of righteousness" is not very scientific, because if this question is not clarified, it will definitely affect the most accurate understanding of the poetic meaning of the Nine Songs.

Since the Song Dynasty, through the Ming and Qing Dynasties, to the recent, modern and contemporary, many scholars have carried out a variety of interpretations of the Nine Songs. These many interpretations can be roughly divided into four schools of thought: First, that "nine" is a real number; second, that "nine" is an approximate number; third, that "nine" is not a number, and its literal interpretation The fourth is that "Jiu Ge" is a proper name. The school which thinks that "nine" is a real number can be divided into the school which says that it is a combination, the school which says that it goes to the chapter, the school which says that it goes to the chapter, and the school which says that it welcomes and sends off the Divine Comedy; the school which thinks that "nine" is an approximate number can be divided into the school which says that it is ten chapters, and the school which says that it is eleven chapters; the school which thinks that "nine Those who believe that "nine" is not a number, but interpret it in a literal sense, can be broadly divided into the theory of nine heavens, the theory that nine is a tangle, the theory that nine is a ghost, the theory that nine is the end, the theory of the dragon song, the theory of ritual bonfire; those who believe that the "nine songs" is a special name can be broadly divided into the theory of the old title, the theory of the ancient names of the songs and dances, the theory of the names of the ancient music, the theory of the relationship between yin and yang and the theory of the editing of the proposed name. The school of "Nine Songs" is a school of monikers. But they can not mention reasonable evidence, are hypotheses. This paper does not intend to analyze them one by one. Instead, it will directly test the question of the titles of the Nine Songs.

The Han and Tang people's Yangjiu

The study of the "Nine Songs" title, there seems to be an interesting phenomenon, that is, after the Song Dynasty, people are confused by the "Nine Songs" title problem, the Han and Tang people do not exist. The number of titles in the Nine Songs affects the determination of the total number of Qu Yuan's works. The Han and Tang people only had the statement that Qu Yuan's works were twenty-five in number, and there was no more dissenting opinion on the total number of Qu Yuan's works, at least because of the confusion over the number of titles in the Nine Songs, as scholars after the Song Dynasty had. Ban Gu of the Eastern Han Dynasty wrote in the Han Book of Arts and Letters: "Qu Yuan wrote twenty-five pieces." Han Yu of the Tang Dynasty frankly said, "Qu Yuan's Li Sao is twenty-five." They all clearly said that Qu Yuan's works were twenty-five, and were not confused about the number of Qu Yuan's works, as Chao Juanzhi of the Northern Song Dynasty was. The Han and Tang people did not raise the question of the number of pieces in the Nine Songs. So how did the Han and Tang people interpret the meaning of "nine" in the Nine Songs? The first for the whole "Chu" as a note of the Eastern Han Dynasty's Wang Yi in the "Chu" Chapter and Verse of the "Nine Songs Preface" in no way, but in the "Nine Defenders Preface", said:

Nine, the number of Yang, the program of the Road also. Therefore, there are nine stars in the sky to correct the guiwei; there are nine states in the earth to form ten thousand states; and there are nine orifices in the human being to pass the essence. Qu Yuan, a loyal and chaste man, was slandered by the evil and the darkness of the king, and his country was about to be in danger of collapse, so he made use of the number of heaven and earth, and listed the essentials of the human form, and composed the ode of "Nine Songs" and "Nine Chapters" to remonstrate with the king of Huai, making it clear that his words were in harmony with heaven and earth. He was a man of the world, a man of the world, a man of the world, a man of the world, a man of the world, a man of the world, a man of the world.

So, the so-called Yang Jiuzi, which is referred to by the later generation, first of all, we can be sure that "Jiuzi" is a number, but is it a real number or an approximate number? The "nine stars", "nine states", "nine orifices" of "nine" are mostly referred to as real numbers in the canonical texts since the Warring States period. It can be assumed that the "nine" in Wang Yi's "invoking the number of heaven and earth, listing the essentials of the human form, and composing the ode to the Nine Songs and the Nine Chapters" are all real numbers, and that the Nine Songs and the Nine Chapters, like the Nine Chapters, are all real numbers. Nine Songs" and "Nine Chapters" are both nine pieces. Moreover, Wang Yi himself wrote "Nine Thoughts", and "Nine Thoughts" is nine works plus a messy speech, and a messy speech cannot be counted as an independent one, so "Nine Thoughts" is nine, and "Nine Thoughts" in the title of "Nine Thoughts" is the real number "Nine". Thus, it can be assumed once again that the "nine" in Wang Yi's interpretation of "the number of yang" should refer to the real number "nine", and that the "Nine Songs" that Wang Yi saw was nine.

When Prince Zhaoming of Liang of the Southern Dynasty compiled the Anthology of Literature, he also selected some chapters of the Chu Ci, including the six Songs of Nine Songs (Volume 32 of the Anthology of Literature with Notes by Six Ministers is labeled "Four Songs of Nine Songs," and Volume 33 is labeled "Two Songs of Nine Songs"), Nine Chapters" and some chapters of the "Nine Arguments", and the five ministers of the Tang dynasty also made some statements when they made notes for the "Selected Writings". The five ministers of the Nine Songs said:

Nine is the extreme of the Yang number. It is said to be the extreme of the negative, and the name of the song is taken as the name of the song.

This is also the so-called Yang nine said by later people. Wuchen also thought that "nine" is a number. The difference with Wang Yi is the addition of the word "pole". Some later generations referred to this as the "extreme number theory" and believed that the "extreme number" was the "approximate number". However, it is still unclear whether Wuchen's so-called "extreme number of Yang" refers to "real number" or "approximate number".

Nine meanings are the same as those of the Nine Songs.

The Nine Chapters are nine, the Nine Songs are eleven, so how can we say "the nine meanings are the same as the Nine Songs"?

The Nine Chapters are nine chapters, and the Nine Songs are eleven chapters, so how can we say that the Nine Righteousnesses are the same as the Nine Songs?

When the Selected Writings selected some chapters of the Nine Arguments, they were labeled as "The Five Songs of the Nine Arguments", so it seems that people before the Tang Dynasty believed that the "nine" of the Nine Arguments was a number, and it is very likely that they thought that it was a real number. It is very likely that the number was the real number "nine", and that the "Nine Arguments" or its "main text" was nine songs.

So what is the meaning of the so-called "Yang's number", "the extreme of Yang's number" to explain the number "nine"? East Han Xu Shen "Shuowen Jiezi" explanation of "nine" said:

Yang of change. It is like the shape of the end of its bending.

Obviously, Xu Shen's explanation of "Jiu" as "the change of Yang" is as esoteric as Wang Yi's and Wuchen's statements. Xu Shen's "Shuowen Jiezi" explains "four" as follows:

The number of yin is also the number of yin.

Interpreting "five", it says:

Five elements. From the two, yin and yang in the heaven and earth intersection of noon also.

Explaining "six", it says:

The number of "Yi", yin changes in six, and is correct in eight.

Here it is also explained that "eight" is the Yin "right at eight". The explanation of "seven" says:

The positive of yang is also. From the one, the slightest yin slants out from it.

Seeing this, Xu Shen also used yin and yang to explain "four," "five," "six," "seven," "eight," and "seven. This shows that Xu Shen also explained "four", "five", "six", "seven" and "eight" in terms of yin and yang, and not only when he explained "nine". Apparently, Xu Shen interpreted "four", "five", "six" and "seven" in terms of yin and yang, "eight" and "nine". Then, it can be assumed that the "nine" of "The Nine Songs", which was interpreted by Wang Yi as "the number of yang" and by Wuchen as "the extreme of yang", should be a specific number, i.e., a real number, "nine". The "nine" of the Song of Nine should be a specific number, i.e., a real number.

Also, "Selected Writings" selected "seven hair", labeled "seven hair" eight, "seven hair" Li Shan note said:

"Seven hair", said seven things to start hair Prince also, as if the "Chu Shi - seven admonition" of the stream.

And Li Shan's note and Wuchen's note both say:

Seven is the number of the young yang, wanting to send yangming to the king. The first one is the preface, the middle six is the admonition, do not want to violate its face, the last one, the beginning of the Chen Zhengdao to dry.

It can be seen that Li Shan and Wuchen interpreted "seven" as "the number of yang", which was interpreted in terms of yin and yang. At the same time, it shows that Wuchen did not only use the theory of yin and yang to explain the "nine" of the Nine Songs. Although the Seven Songs are called Eight Songs, their contents are "Seven Things", and "of the Eight Songs, the first one is the preface", and the last seven are the "main text". In other words, the "body" of "Seven Sentiments" is seven songs. It can be assumed that the "seven" of the "Seven Sentiments" explained by Li Shan and Wuchen with the phrase "seven is the number of the lesser yang" is the actual number "seven", then it can be assumed that Wuchen with the phrase "nine is the number of the yang" is the actual number "seven". Then, it can be assumed that the "nine" of the "Nine Songs" interpreted by the five ministers with the phrase "nine is the ultimate number of yang" is the actual number "nine". In addition, Li Shan thinks that the "Seven Songs" is "like the stream of "Chu Ci - Seven Admonitions", and the phrase "Seven, the number of the Yang" is not only an explanation of the "Seven" of the "Seven Songs", but also an explanation of the "Seven Admonitions", and the "Seven" of the "Seven Admonitions". The phrase "seven is the number of the Shao-Yang" not only explains the "seven" of the Seven Sentiments, but also explains the "seven admonitions. The Seven Remonstrances consist of seven pieces: "The First Release", "Shen Jiang", "Complaining about the World", "Complaining about Thoughts", "Self-Pity", "Lamenting the Life", and "Fallacious Remonstrances", and finally, there is a disorganized speech, which is not counted as an independent piece. Therefore, the Seven Remonstrances are exactly seven pieces. The "seven" in "Seven Remonstrances" is the actual number "seven". Li Shan used "the number of the young yang" as the explanation for the "seven" in his title, and the "Seven Remonstrances" is exactly seven, so it can be assumed that the five ministers used "the extreme of the number of the yang" as the explanation for the "nine" in their title, and the five ministers used "the extreme of the number of the yang" as the explanation for the "nine" in their title. Then, it can be assumed that the "Nine Songs" which the five ministers used as an explanation for the "nine" in its title should also be nine, and the "nine" of the "Nine Songs" is also a concrete real number, that is, the real number "nine".

Originally, the format of "Nine Songs" was nine pieces plus a messy speech

Wang Yi's "Preface to the Nine Dialogues" of "Chu Rhetoric" said:

Qu Yuan, who had a loyal and chaste nature, was slandered by slander and wickedness, and was hurt by the darkness of the king, and his country was about to be in danger of perishing, and so, with the support of the number of heaven and earth and the importance of the human form, he composed the "Nine Songs" and "Nine Chapters" of the ode, which was used to satirize and admonish the King Huai of Chu. ...... During the Han Dynasty, Liu Xiang and Wang Bao, who were saddened by their writings, composed lyrics based on them, and so they were called "Chu lyrics". Also carry its nine to set up righteousness. (Emphasis added by the author, the same below.)

This preface says that Liu Xiang and Wang Bao wrote their own works in imitation of Qu Yuan's Nine Songs and Nine Chapters, "composing words in accordance with them," and "also taking up nine of them in order to establish righteousness. Liu Xiang's work is "Nine Sighs", and Wang Berg's work is "Nine Ways". Moreover, the meaning of "nine" in the titles of these works is the same.

Liu Xiang's "Nine Sighs" includes "Fenfeng", "Linghuai", "Leaving the World", "Grieving for Thought", "Passing Away", "Cherishing the Virtues", "Worrying and Bitter", "Counseling", and "Thinking of Ancient Times" (the titles of which were based on the Wenyuange text of the "Chu Rhetoric Chapters and Phrases"), which is a collection of nine pieces in style, and each of the nine pieces has a "sighing and saying" section after each one as a disjointed speech. Nine Sighs" imitates the style of Qu Yuan's "Nine Chapters", "Nine Chapters" consists of "Cherishing Recitation", "Shibu Jiang", "Mourning Ying", "Drawing Thoughts", "Huai Sha", "Thinking of Beauty", "Cherishing the Past", "Orange Ode", "Sorrowful Winds", but not after each of these pieces there is a "sighing and saying" section as a disordered speech. Shibu Jiang", "Mourning Ying", "Drawing Thoughts", "Huai Sha" four have "chaotic said" part as a chaotic rhetoric, "sad back to the wind" a "said" part as a chaotic rhetoric, should be off a "chaotic The other four articles do not have the word "chaotic". The remaining four articles do not have the word "chaotic". According to Sima Qian's "Records of the Grand Historian - Qu Yuan's Biography", he said, "I read Li Sao, Tian Wen, Zha Sheng, and Mourning Ying, and I grieved for their aspirations." Sima Qian only mentions "Lamenting Ying" here, and does not mention the general name of the Nine Chapters. The Book of Han - Yang Xiong biography: "and next to 'cherish the recitation' below to 'Huai Sha' a volume, the name is 'by the prison sorrow'. ...... filial piety into the emperor, the guest has recommended Xiong Wen seems to be like Xiang Ru person ......" can be seen, Yang Xiong made "by the jail worry", "cherish the recitation" below to "Huai Sha" is a volume, there is no "nine chapters" of the general name. Therefore, it can be deduced that Qu Yuan's "nine chapters" of the nine works were not initially compiled together, that is, not a group of poems, so the style is not consistent, some have messy words, some do not have messy words. The Book of the Han Dynasty - The Chronicle of Emperor Chengdi: "(In the third year of Emperor Chengdi's Heping reign) Liu Xiang, a doctor of the Guanglu school, was the secretary of the school." The Han Book - Chu Yuan Wang Biography: "(Liu Xin) He Ping in the middle, by imperial decree and father to lead the school secretary ......" The earliest mention of the name of the Nine Chapters is Liu Xiang "Nine Sighs - Sorrows and Bitterness": "Sighing the "Li Sao" to raise the intention, but not yet exhausted in the Nine Chapters." Liu Xiang was the compiler of the Chu Rhetoric. When Yang Xiong wrote "Sorrows of the Shore Prison" before the reign of Emperor Cheng of the Han Dynasty, the following "Shih Ching" and "Huai Sha" were one volume, and there was no general name of "Nine Chapters". On the other hand, Liu Xiang first mentioned the Nine Chapters in his Nine Sighs. From this, it can be presumed that Liu Xiang or Liu Xiang and Liu Xin's father and son are very likely to be the compilers and name makers of the Nine Chapters. It is also possible that the compiler of the Nine Chapters was someone else, in a shorter period of time after Yang Xiong composed the "Sorrows of the Prisoners of the Shore" and before Liu Xiang compiled the "Chu Rhetoric". Whatever the case, however, the fact that Liu composed the Nine Sighs in imitation of the Nine Chapters, and that each of them is followed by a disorganized version, is probably the result of an intentional quest for neatness.

Wang Bao's "Nine Sighs," including "Kuangji," "Tonglu," "Dangerous Jun," "Zhaoshi," "Zunjia," "Cuying," "Sizhong," "Tao congestion," and "Zhuzhao," are nine pieces of work, and after each of the nine pieces, there is a "chaotic" part as a chaotic rhetoric. The Chu Rhetoric Chapter and Verse of the "Nine Si Preface" said:

Yi and Qu Yuan with the soil **** country, the feelings of mourning and where there is a difference. I adore the style of Xiang, praise, make an ode, called the "Nine Si", to benefit its words.

While the Nine Thoughts preface is not written by Wang Yi, but the Nine Thoughts is a proposed work is undoubtedly. Wang Yi's Nine Thoughts consists of nine works, namely, Fengyu, Grievance, Disease, Pity, Error, Mourning Chaos, Injury, Mourning Years, and Shouzhi, and after the nine works, there is a section called "Chaos Speaks" as the Chaos Rhetoric. According to Wang Yi's "Preface to the Nine Arguments", "according to the words", "also undertake its nine to establish the meaning of" and other words, and "Nine Wyatt", "Nine Thoughts" is obviously not an imitation of the "Nine Chapters" style, such as an imitation of the "Nine Chapters" style should be like or close to Liu Xiang's "Nine Sighs" form, so it can be deduced that the "Nine Sighs" form, so it can be inferred that the "Nine Chapters" form. Therefore, it can be inferred that Jiu Huai and Jiu Si are imitations of the style of Qu Yuan's Jiu Ge (Nine Songs). From this, we can see that the style of the Nine Songs, as seen by Wang Bao, Wang Yi and others in the Han Dynasty, was composed of nine pieces plus a section of chaotic rhetoric.

To summarize, the original style of the Nine Songs was composed of nine compositions plus a section of chaotic rhetoric.

The content and style of the preface notes to the Nine Songs in the present edition of the Chu Rhetoric Chapter and Verse indicate that the Nine Songs did not have a "National Gothic"

The original Nine Songs was composed of nine compositions plus a chaotic rhetorical section. The present version of the Nine Songs is eleven pieces. Nine works plus a messy speech can also be regarded as having ten chapters, and the eleven pieces of the present version of the Nine Songs can be regarded as eleven chapters. Comparing the two, the original Nine Songs must not have one of the pieces of the present version of the Nine Songs. So, which one is not there?

The Chu Rhetoric Chapter and Verse of the Nine Songs Preface said:

The Nine Songs, Qu Yuan's work. In the past, in the south of Ying, between Yuan and Xiang, the custom of Chu was to believe in ghosts and good sacrifices. The ancestral temple, must make songs and music to encourage the gods to music. Qu Yuan was banished, and he was in exile, harboring a bitter, fretful mind. When he came out to see the rituals of the commoners and the music of songs and dances, his words were despicable. Because of this, he made the song "Nine Songs" to honor the gods, to see his own grievances, and to entrust them to the wind to admonish him. Therefore, the meaning of the text is different, the chapters and sentences are mixed, and the wide range of different meanings.

The Preface to the Nine Dialogues of the Chu Rhetoric also says:

Qu Yuan, who was loyal and chaste in nature, was slandered by slander and evil, and his country was in danger of being destroyed by the darkness of the king.

Apparently, Wang Yi thought that the Nine Songs were sacrificial songs. The so-called "respect for the gods from the top, the grievance from the bottom, and the wind of admonition from the entrusted one" in the Preface to the Nine Songs are the two focuses of Wang Yi's interpretation of the Nine Songs in accordance with his way of thinking of interpreting the scriptures, that is, the main theme of the Nine Songs and the meaning of the Nine Songs according to his own view. The result of his interpretation is that he feels that the Nine Songs is complex and varied in its meaning, and its chapters and sentences are confusing, which is what he said, "Therefore, its meaning is different, and its chapters and sentences are mixed and wrong, and the meaning is broadly different.

Throughout the present book of "Chu Rhetoric Chapter and Verse" of the "Nine Songs" of each chapter of the notes, from the "Donghuang Taiyi" to the "Mountain Ghosts" of the nine, Wang Yi analyzed its main theme, the meaning of its focus on the "Preface to the Nine Songs," said "on the respect for the God Chen, the next to see the grievances of their own, entrusted to the wind to advise" two points, interpretation of the poem is attached to the Qu Yuan, from the "Donghuang Taiyi" to the "Mountain Ghosts" of the poem, from the "Donghuang Taiyi" to the "Mountain Ghosts" of the nine. From "Dong Huang Tai Yi" to "Mountain Ghosts", the commentaries of the nine poems generally begin or soon after with the statement of how Qu Yuan "honors the gods" and describes Qu Yuan as the officiating priest, and then they are flooded with references to Qu Yuan, saying that he "sees his grievances and entrusts them to the winds to remonstrate with him", and then they are flooded with references to Qu Yuan and Chu Yuan. The preface to the Nine Arguments says, "Qu Yuan was loyal and chaste, but he was slandered and hurt the king by his darkness" and "remonstrated with King Huai", and the preface to the Nine Songs says, "He was bitter and poisoned with sorrow, and he remonstrated with King Huai. The preface to the Nine Songs says, "He was bitter and poisoned with sorrow, and his thoughts were enraged". The phrases with the word "self" appearing in these nine notes are all attached to Qu Yuan, and the "self" in these nine notes refers to Qu Yuan, which is the same as that in the "Preface to the Nine Songs," which says, "Seeing one's own grievances," and "Seeing one's own grievances," and "Seeing one's own grievances," in the "Preface to the Nine Songs. The "self" in these nine notes all refer to Qu Yuan, and the "Preface to the Nine Songs" refers to Qu Yuan in the same way as "Seeing one's own grievances". The result of such an interpretation, as Wang Yi himself judged, was to make the Nine Songs complex and varied in meaning, and the chapters and phrases of the text were confused. Therefore, from "Donghuang Taiyi" to "Mountain Ghosts", the content and style of the notes are consistent with what is outlined in the "Preface to the Nine Songs" and the "Preface to the Nine Arguments".

The commentary on the "National Gothic" is completely different, and is purely of a different content and style. Wang Yi's commentary on "National Gothic" makes no mention of Qu Yuan at all, neither focusing on Qu Yuan's "respect for the gods" nor mentioning anything about sacrifices, nor focusing on Qu Yuan's "to see his own grievances, and entrusting them to the winds of admonition," nor linking Qu Yuan to King Huai of Chu. There is no link between Qu Yuan and King Huai of Chu. None of the phrases with the word "self" appearing in the notes to this text are attached to Qu Yuan, and the "self" in this text refers not to Qu Yuan but to the "national mourning" (國殇). The "self" in this note does not refer to Qu Yuan, but to "National Gothic". Therefore, the style of Wang Yi's "National Gothic" note is pragmatic exegesis, literal interpretation, and thus Wang Yi did not make the "National Gothic" as complex and varied as from the "East Emperor Taiyi" to the "Ghosts of the Mountain" as the nine chapters of the complexity and variety of the meaning of the chapter and the wrong sentence, but the meaning of the text is the same, and the structure of the chapters as one. Therefore, the content and style of the notes of the Guozheng do not conform to what is outlined in the Preface to the Nine Songs and the Preface to the Nine Arguments. The content and style of the two commentaries are very different.

The commentary on the Soul of Rites, on the other hand, focuses purely on explaining the rituals and practices of sacrifices to the gods and describing the scenes of the sacrifices.

The following is a list of the notes on each of the Nine Songs in the current edition of Chu Rhetoric Chapter and Verse, one by one, with emphasis on key points:

(Deleted due to space constraints, scholars are invited to go through the book by themselves, or you can see my Nim Shan Ren's Sina blog.)

From the text above, we can see that the notes on the Nine Songs from Donghuangtaiyi to Shangui in the present-day version of Wang Yi's Chu Rhetoric Chapter and Verse are of one content and style, while the notes on Guozheng are of another. The differences between the two are as follows:

I. The notes of the Nine Songs from "Dong Huang Tai Yi" to "Mountain Ghosts" are basically attached to Qu Yuan throughout the text, describing Qu Yuan as the officiating priest. The "Donghuang Taiyi" ***15 notes, 8 attached to Qu Yuan, "Yunzhongjun" ***13 notes, 2 attached to Qu Yuan, "Xiangjun" ***38 notes, 25 attached to Qu Yuan, "Xiangwu" ***36 notes, 13 attached to Qu Yuan, "Dasiming" ***25 notes, 11 attached to Qu Yuan, "Shaoziming" ***21 notes, with 9 attached to Qu Yuan, "Dongjun" ***21 notes, with 5 attached to Qu Yuan, "Hebo" ***14 notes, with 9 attached to Qu Yuan, and "Mountain Ghosts" ***23 notes, with 13 attached to Qu Yuan. In contrast, the "National Gothic" ****16 notes, none of which are attached to Qu Yuan. From "Donghuang Taiyi" to the nine articles of "Mountain Ghosts," the notes in each of the articles, except "Dongjun," mention or even generalize the name of Qu Yuan. From "Dong Huang Tai Yi" to "Mountain Ghosts," the phrases with the word "self" appear in the notes, and all of them refer to Qu Yuan, and the "self" in these nine notes refers to Qu Yuan. On the other hand, none of the notes to "National Gothic" mentions Qu Yuan's name, and none of the phrases with the word "言己" appearing in the notes to this article are in reference to Qu Yuan. The "National Gothic".

Second, from the "Donghuang Taiyi" to the "mountain ghosts" of the nine notes basically in the beginning or shortly after the beginning of the Qu Yuan how to sacrifice to the gods, that is, the "Nine Songs Preface," said the "on the Chen thing of God's respect. They are listed below, one by one.

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Three, "Preface to the Nine Songs," said:

In the past, the state of Chu in the south of Ying, between Yuan and Xiang, their customs believe in ghosts and good rituals. Its ancestral temple, must be made song and music inspired to music of the gods. Qu Yuan was banished, and he was in the area, and he was very worried and anxious. When he came out to see the rituals of the commoners and the music of songs and dances, his words were despicable. So he composed the song "Nine Songs" to honor the gods at the top, and to entrust his grievances to the winds of admonition at the bottom.

This preface indicates that Wang Yi considered the Nine Songs to be sacrificial songs to the gods. As can be seen from the analysis of the second point above, the notes on the Nine Songs, from "Dong Huang Tai Yi" to "Mountain Ghosts," all consider the Songs to be sacrificial songs to the gods, whereas the notes on the Guo Zhen (National Ghosts) do not mention Qu Yuan or anyone else at all about the sacrifices. The notes to the "National Ghosts" indicate that Wang Yi did not regard the "National Ghosts" as a sacrificial song to the gods, or even as some kind of sacrificial chapter.

Four, from "Dong Huang Tai Yi" to "Mountain Ghosts," the commentaries on the nine pieces generally say that after Qu Yuan had said how he had "honored the gods," he said, as summarized in the Preface to the Nine Songs, how he had "come down to see his own grievances, and entrusted them to the winds of admonition. Some of these nine songs talk about Qu Yuan "seeing his own grievances and entrusting them to the wind to remonstrate", some talk about Qu Yuan "seeing his own grievances", and some talk about how Qu Yuan "entrusted" himself to the gods to "remonstrate with the wind". Some say that Qu Yuan "saw his grievances", while others talk about how he "entrusted" himself to the gods to "remonstrate with the wind". They are listed below, one by one.

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Fifth, the nine commentaries from "Dong Huang Tai Yi" to "Mountain Ghosts," with the Han Dynasty's thinking of interpreting the sutras with the sutras, all link Qu Yuan with King Huai of Chu or the Chu state, saying how Qu Yuan was "loyal to the king and loved the country," and portraying an image of "loyalty and love for the country," expressing an image of "loyalty and love for the country. All of them associate Qu Yuan with King Huai of Chu or the state of Chu, saying how Qu Yuan is "loyal to the king and loves the country", creating an image of Qu Yuan who is "loyal to the king and loves the country", and expressing a kind of "loyal to the king and loves the country". The following is a list of the articles, one by one.

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And the notes of "National Gothic" do not mention Qu Yuan's relationship with King Huai of Chu and the state of Chu at all, not even mentioning King Huai of Chu or the state of Chu alone, and do not mention the word "king" or how Qu Yuan was "loyal to the king and loved the country", or even express the idea of "loyalty to the king and love of the country" at all. There is no expression of the idea of "loyalty to the king and love of the country", even though such a subject of fighting with the enemy until the martyrdom is how patriotic in the eyes of future generations.

Sixth, the Preface to the Nine Songs says, "Qu Yuan was banished, and he was in exile, harboring bitter sorrows and anxious thoughts. That is how Qu Yuan is considered to be sad and sorrowful. Throughout the present book "Chu Rhetoric Chapter and Verse - Nine Songs" from the "Donghuang Taiyi" to the "Mountain Ghosts" nine notes, in addition to the "Dongjun", the other eight have some notes directly attached to Qu Yuan how sad and sorrowful thoughts, as for the "Dongjun", there is also a note that the sun god how to "Taiyi", is also shown the feelings of sad and sorrowful thoughts. The following is a list of each article, with the key words emphasized.

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VII. The Preface to the Nine Songs says:

In the old days, the people of Chu believed in ghosts and sacrifices. Its ancestral temple, must be made song and music inspired to music of the gods. Qu Yuan was banished, and he was in the area, and he was very worried and anxious. When he came out to see the rituals of the commoners and the music of songs and dances, his words were despicable. So he made the song "Nine Songs" to honor the gods and to entrust them with a windy admonition.

Both said "believe in ghosts and good sacrifices", and also said "its ancestral temple, will make songs and music inspired to music the gods", "things God", visible "ghosts", "gods", "the gods". It can be seen that "ghosts" and "gods" are commonly used to refer to a wide range of deities. This book of "Chu Rhetoric Chapter and Verse - Nine Songs" from the "East Emperor Taiyi" to the "mountain ghosts" of the nine articles of the notes in many places have "God", there are also a few places have the word "ghost", and more importantly, the "God" and "Ghost" of these notes. More importantly, the words "gods" and "ghosts" in these notes refer to deities in the concept of heavenly deities and earthly spirits, and there are also a few references to the names of certain deities, which suggests that Wang Yi believed that these nine texts were dedicated to deities in the concept of heavenly deities and earthly spirits, ranging from Donghuang Taiyi (东皇太一) to Shan Gui (山鬼). The following is an article-by-article proof of the notes on the nine texts from Donghuang Taiyi to Shangui.

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There are two phrases with the words "god" and "ghost" in the notes of the "National Gothic":

Saying that one's life will fall when one's battle is opportune in heaven. The first one is that he was not afraid of his own death, but he was not afraid of the gods.

Saying that after the death of Guo Zhen, his spirit is strong and his soul is resolute, and he will grow to be the hero of the hundred ghosts.

So, the words "God", "spirit", "soul", "hundred ghosts", etc. in Wang Yi's commentary mean that Guo Zhen was a member of the Heavenly King. Does it mean that Guo Zhen is a deity on the concept of heavenly gods and earthly spirits? Or do they refer to something else? Does it mean that Gueizhen is a human ghost?

The following is a test. (Deleted due to space constraints.)

The key is that the present version of the "Rites of the soul" note says:

Said shrine sacrifices to the nine gods, all the first fasting, into a set of rituals and respect, and then pass the song and music, rapid drumming, in order to say that the divine will also.

First of all, it is known from the discussion of the third point that Wang Yi believed that all the nine pieces from "Donghuang Taiyi" to "Shan Gui" were sacrificial songs, while "Guozheng" was not. The term "shrine" has nothing to do with the Guozheng. According to the discussion in this section, from Donghuang Taiyi to Shangui are all deities in the concept of heavenly gods and earthly spirits, while Guoshen is a human ghost. Then, the "nine gods" in the "Nine Gods of Ancestral Sacrifice" mentioned in the note to the "Souls of Rites" in the present edition are Donghuang Taiyi, Yunzhongjun, Xiangjun, Xiangfuwu, Dasiming, Shaoximing, Dongjun, Hebo, and Shan Ghost, but not in the "Nine Songs of the Nine Gods of Ancestral Sacrifice" in the "National Ghosts of Ancestral Sacrifice" included in the present edition. "National Gothic".

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