antient writings, even Confucius.

td//b4 process still goes on with foreign words.
( idem/ Japanese manyoshu )

In Lit/ decadence, characters inconsequentially transposed.
Also China being so large, different pronunciations led to
different usage in transposition.

Old saying that in inventing the characters SOKETSU
struck the chord of the elements so skillfully that heaven
cause rain to fall and grain to sprout
and the night demons to whine. Meaning that the characters
reach into spirit of universe, that by them one can
cause prosperity or fall into gt/ misfortune.

The real meaning of antient texts only accessible thru
study of the development of the characters. In Ken dynasty
Kioshin wrote a book called Setsumoro (?), yet later
scholars never tried to study in this way. That is they
studied thru Kan and To. After To, the tradition was lost.

Setsu mori & explain character.

GI GA = the right word, said to be by Confucius or by
BunWo himself. explains most of
of the characters in Shukio and ShoKio

equivalent to two of So, and yet the beauty comes from
these " vacant characters " which add force to the others .
Excessive use of them tends to make the verse too colloquial
and the dignity is sometimes lost.

/Xo Kioji are adjectives, verbs, adverbs
pronouns wrods which move and change

Jitonji = only *vātā* nouns

So poets use Kioji where the meaning is very clear without
them. Thus they leave out ṭōb much of the veiled implications
of earlier poets . In 5th line of preceding poem

Kantaishi almost never uses Kioji, only Jitōjō Jitonji
( kioji almost like our particles )

Down to To ; poems have deep meaning . So poet rather
shallow. To poets condense . So expand.

and to show that the better oriental minds recognize
degrees of good sense, of fanaticism, and of the
applicability of humanity, the humanities and amenities
the
in regard to the text of Master KUNG.

When men are as intelligent as Mori and Fenollosa it wd.
be falsification rather than editing to suppose that they
relapse into brute idiocy in every case where the
haste of transcription has failed to make every expression
fool proof and more than legally binding.

I have a perfect right to assume that they are
possessed of general intelligence enough to account for
the demonstratable flashes of incision of perception and of
the general profundity which undeniably and demonstarbly
exist in the notes.

can take the interest OUT of a subject, while in the act
of providing " invaluable " footnotes, often precise in
THE unmovables; full where there is scant human interest
and silent, with a perfect discretion, on THOSE matters
of more vital interest.

As there are few paid professors of Chinese literal
in either England or America it will take 20 or 40 years
for the subject to become very lucrative, and by that
time I have no doubt there will be ample energy expended
on exploiting Fenollosa's without mentioning him as a
stimulant, or as an incentive to research. This process
began fairly soon after the first publication of MZI
of other parts of his papers.

The reason for a books existence is in part determinable b
by the use that can be made of it. As chronicle, for a
public profoundly ignorant both of chinese AND of poetic
values, I don't know that Mori's lectures will have tempted
me to retype them. As a fund or fountain of wisdom
applicable to the criticism of ANY poetry, that is to say
world poetry or the poetry of any nation, they have
a value that no one but an ass can deny. They contain
considerably more wisdom than I noticed when I first
read through them 20 or so years ago, and even at that time
I had certain qualifications which are possibly not
METHODOLOGY, the common property of every philologist.

At any rate I am glad I did not attempt
to edit them at that time for a good deal of their acumen
wd. have escaped me.

MORI II

Tutto il mondo è paese

The main moral of the nss/ os that the elements are
the same, I mean the same underlying human motives ;
loves, jealousies, imperialisms, the same set of literary
reactions and ingeniousnesses, in different order, in
different proportion, leading to results roughly analogous
and never identical, which can be weighted only
by such individuals of another as have penetrated the
arcana. Without the De Volgari Elogio, some of Mori is
just elaborate incomprehensibility, stuff that could be
catalysed by uncomprehending academics who would never
come with it a mile of appreciating its weight or its
virtue.

The common reaction, the shilled man's reaction,
the reaction of persons of high sensibility, the
incision of genius, the scene, the 48 plots, the
estimation of writing by content, by style, or by
it consummate weight, its specific humanity.

Chinese pupils discuss the beauty of Juliet's character
or her lack of moral discussion, and so forth. Prof.
Mori was in condition to appreciate the finest parallels
of the most capacious and sensitive westerner ed. have
offered him.

In 1914 I was in no shape to penetrate
his rapid note on the ground of # the various verse forms
even as far as I k now have ( which is not saying
a great deal, though I don't know of anyone of whom

I wdn't have to postulate a lower degree of qualification )

My gross impression is that civilization in China is
not so old as one has been taught, but the one we
greatly err in supposing that we have thought of things
greatly err in supposing that we have thought of things
that they haven't. On the other hand
that some of their savant elaborations
haven't parallel in the occident.
on the other hand
that some of their savant elaborations
haven't parallel in the occident.

This is not to say that the zoning of " tones "
in
what
distinction of words
is the same as DantO// was driving at in his " poxa " et
"hirsuta " , but an appreciation of one body of knowledge
plus some sort of moderation and common sense
is probably the best approach to the other.
plus some sort of moderation and common sense
is probably the best approach to the other.

Communication is possible between one set of savants
and skilled writers, and another group equally qualified /
both groups are and probably always have been incommunicado
in reprot to in report to
far as the incurious layman is concerned.
the gross or incurious layman.
far as the incurious layman is concerned.

Out law and enemy to both savant and
the well disposed public , is the bureaucrat , the dog in
the university manger. The low bastard who has no
curiosity outside his own brand of groceries. The
obstacle equally to communicating Fenollosa or Frobenius ,
the time eater , the non-correlator , the separator of his
speciality from the general bearing of human enlightenment.

These lectures of Mori's follow the essay on the chinese written character ( Instigations ), refd/ to in condensed note in my ABC of Reading.

The written character is said to have been invented by Soketsu in the time of Kotei, before whose time there had been imperfect expression with signs, or by knots in sting, from the days of Fudci and Shimmō. Soketsu a great genius in subsequent developments made possible by it him. Kotei a gt/ emperor, not Chinese in origin but believed to have come from the West, sotei his asset and see/ possibly of Western origin.

Characters necessitated by having to combine chinese
lang/ with " advanced Western thought ". Effort to express the
thought of one race thru what is comprehensible to another ".
We have Only approx idea of what Soketsu's characters were
, those now know date from early ZM2, part of Shu (?). In th
time of Sei 0 ( Ching Wan ) study of entient lit/
whence we know it.

Then taught one shū/ study six classes of character

I. Shi Gi " point to " ; " finger matter " , those
which express a fact or relation at once ; on sight.

e.g.
高, high
低, low

not pictures of things but of facts, hundreds
of them, many simple, some complicated.

2. Sho 青 Kei
Elephant form
denote form, represent. e.g. sun; moon

3. Kei Sei
; form noise.

Characters of sound and form, the sound is made
the base and a certain form is combined with it
also called Shosei, phenomenon sound, in
distinction from Sho Kei

e.g. Ko (Kiàng I. Ku) Ka (Ho 1) names of
two rivers in China. The first radical of both is
water, the 2nd. part of word not for meaning but
to represent sound of 坡/ flowing water.
Great many. Mori does not agree that the sound has
no representative meaning. He thinks gt/ care was taken
in selection for onomatopoeic reasons in all this
class of ideogram.

Such fabrication as foreigners speak of, i;e;
without care that sound represents, takes place
now (E.P. "joumalosc" ) present dynasty novels.

4. Ka wi I meet idea. Expression thru combination.
Kwai means combination.

A character may combine the qualities of
all three (2,3,4th) classes.

5. Ten Chu convert, annotate, explain.

different categories.

Bright (sum/moon) fire
jewel

the reason for making this a separate class is
that one character may be known to reader who
doesn't know the others.

(F. say "lane")

Mori admits they aren't exactly synonymous.

6. Ka Sha temporarily borrow

Soketsu used the four methods first listed
but apparently couldn't meet all necessities.
spoken
Chinese words for which none of these categories
wd/ serve. In such cases he took the word as
spoken and borrowed a character already formed
for some other purpose, merely because the
sounds were similar. These are the characters
difficult to understand in ancient lit/ where
the words from which they were originally borrowed
have often been lost.

e.g. **rai** to come, originally
rice in full fruit. borrowed because of
similar pronunciation. Nobody now wd/ know it
meant rice. large class/ many disputes/

Ka sha must be specially studied in order to understand

till this process still goes on with foreign words.

( idem/ Japanese Manyoshu )

The real meaning of antient texts only accessible thru study of the development of the characters. In the dynasty Kioshin wrote a book called Setsumoro (?), yet later scholars never tried to study in this way. That is they studied thru Kan and To. After To, the tradition was lost.

GI GA = the right word, said to be by Confucius or by BumWo himself. explains most of of the characters in Shukio and Shokio

Now he liked ki ( = eccentricity ) in all things .
So his beauty is in that point , but also his defects.
There are some Ki ( eccentric ) lines in Toshini, but he sang
them unconsciously in full flow. But Kantaishi tried to
extend this vein purposely , so it has some trace of being
" cut with the hatchet ".

Also Kantaishi's words are unusual. We must search
for them in dictionary. So if one reads his poems , one must
become a great scholar. But it lacks much of genuine poetic
beauty...

Some critic said : the written characters of Kantaishi
" stand up out of the paper " , stretching their arms " and
that hey are like " lightning flashing in the sky "

At 1 st Kozankoku spoke : " **Hokusai** " was made in the case w
when it must be necessarily made. **Kanzen** was made when it
was not necessary to be made. "

Fairly complete set of DISSOCIATIONS necessary to
any criticism , to any full critical apparatus , probably
in Mori's lectures. Some readers may know it all ,
thou those who dont , will , like the transcriber be
able to refresh their perceptions.

Hakurakuten ( Po Chü I ) In contrast to the difficult words

equivalent to two of so, and yet the beauty comes from
these " vacant characters " which add force to the others .
Excessive use of them tends to make the verse too colloquial
and the dignity is sometimes lost.

/%o Kioji are adjectives, verbs, adverbs
pronouns wrods which move and change

Jitonji = only *abre* nouns

So poets use Kioji where the meaning is very clear without
then. Thus they leave out %66 much of the veiled implications
of earlier poets . In 5th line of preceding poem

Kantaishi almost never uses Kioji, only *Jitōnji* Jitonji
( kioji almost like our particles )

Down to To ; poems have deep meaning . So poet rather
shallow. To poet's condense . So expand.

When men are as intelligent as Mori and Fenollosa it will
be falsification rather than editing to suppose that they
relapse into brute idiocy in every case where the
haste of transcription has failed to make every expression
fool proof and more than legally binding.

I have a perfect right to assume that they are
possessed of general intelligence enough to account for
the demonstratable flashes of incision of perception and of
the general profundity which undeniably and demonstrably
exist in the notes.

The scenes we have been tracing led to the so called 3000 poems of SHU, of which Confucius selected 300 so that his collection is not called a compilation but the "STRINKING OUT", It is divided into FU;GA and SHO and those each into divisions as to their form FU, LI and KIO, giving the six categories of Kikugei.

FU; literally "wind" is taken with a specil dA/ s sense for which there is no one word in English, it partakes of "inSPIRATION" but F and M. give it as "unconscious moral influence" not artificial " no one teaches, everyone follows The syllable occurs in FUzoku, social fashion or custom

Kung extended the meaning to detòt denote poems expressing local feeling, or those rising from special custom or manners of a given place. Spontaneous. or/ the word FUzoku, an invisible wind moving grass.

Kung collected FU from X6 provinces from the time of the beginning of SHU (dynasty), that is from several reigns before his time down to TBI 0 (Ching Wang)

2. GA "literally " sài, connect righteous
sai also = government

poems treating how governments rise and fall
all by known authors, mostly high government officials.