It being remembered that E.F.Ss pencil scribble is not always
legible and that I am a total dudd when it comes to
deciphering any calligraphy later that 1487.

The HHHHH proper names are given provisionally, and the
sinologues can enjoy themselves over ever japanese version
of their illustrious forebaars. My comments should stand in
margin in small italics.

****

May 28, 1901. Fenollosa questioning Mori re/ actual
characters used in the record.

" Soketsu in the time of Kotei " preceded by inferior expression, " also knots on strings".

A great genius, and a system perfected.

Kotei a great emperor carried civilization beyond that of
his predecessors, but was not chinese in origin. Believed to
have come from the west and subdued China.

Correlate with Waddell and Sumerian entrance HHH via the Indus valley. Rock on Na Chi.

Sotetsu, his assistant and secretary, possibly of the same western
origin.

The written HHH signs had to be invented in order
to combine the chinese speech with advanced thought brought
in by the western tribe. The result due to effort to
express the thought of one race through what was
comprehensible to another.

Vide Walther

L. H Fisher on
relation of
mathematics to languag

We do not know what characters Soketsu invented
but can form an approximate idea because the Shu records that
in time of Ching-wang the study of archaic writing was
seriously studied, with indication of six cHHHH classes of
ideogram (1) the " point-to-H " or " finger matter ", indicating
a fact or relation immediately visible :

such as "high" and "low", not picturing things.

2. The " elephat form " or form-denoation, such as sun, moon.

3. HHHHHHHHHHHHH combinations of sound and form
with it

In this class are the names of Chinese rivers " because
they represented the sound of running water".

Mori objected to idea that the sound had no
separate meaning; thought great attention should
be given to onomatopoeic reasons, all thru
this class of signs.

4. the expression of idea through ( kwai ) combination , either sound or form can enter as factor.

The same character may belong to several
classes.

5. characters serving as annotation, that is
combinations as bright-fire-jewel to indicate
brightness. This help a reader who does not know
all the components of a complex ideogram, but can make out
the drift from the components he does know.

They are not exactly synonymn

Prof Mori had given a distich of Kutsugen for onomatopoeia and perfection of tone and style.

Fu sho sho kei eki siu kan

So shi itsu kio kei fu fuku kwan.

The sound of the bitter wind in the first line, and the perfect vowel sequence.

As foot note the hirah aspirant prosodist might usefully
analyze the consonantal sequence in Timor mortis conturbat me.

MORI vol II

LECTURE

Enyu's author

Far wander ( the way a little Ri So )

p.23

Manly?

in Heaven and Earth he appear to see all the
Gods and spirits, to witness by his faithfulness.

Interesting points, is that it is an allegory. Sometimes
spoke to a beautiful lady and woos her. Sometimes it is a hoo
and he asks to ride on it. Most interesting point is in conclusion
that speaks about Mui:: not-do, doing nothing, as
Koshi's theory. Roshi came from So, so it seems that Enyu had
returned to Koshi. Final line very beautiful

Doing nothing beyond nothing, then the most pure

Nothing contains the idea of things

? idea " there is " HEGEL

with parenthesis " tai sho " he will live in its neighborhood

" BOKKIO"

Settled dwelling

" GIOFU

Fisherman

in the first he asks Heaven where to .... life
in the 2nd. Met fisherman, who laughs at his complaints
and says he still retains...

These may be called strong poems, but are easy and popular
used in modern text book for boys

6. The temporarily borrowed.

Soketso used methods i to 4, but they would not
cover all necessities. There were words in spoken chinese for which
he could not invent ANY character by these mentods. In such
cases he took a sign already invented ₩ for a
word of the same sound.

These are obviously the characters that are hardest to understand in ancient writing, and the words from which they are borrowed, that is the oral correlative, are now lost.

The word meaninh " to come " started by meaning " rice in full fruit ", borrowed because the sound was the same, but nowadays no one know it meant rice.

There are a lot of words in this class, and they
cause much disputation.

Some scholars think they need special
study for ancient writing and even for the text of
Confucius.

The process continues now when there is need to express
european ideas, they try to observe sound, lips and teeth
without regard to the meaning.

There have been other complications due to literary
playfulness, and the differing pronunciations in different
sections of China.

LEGEND is that Soketsu 's skill in finding the true chord of
nature was such that the heavens poured down grain, and the
demons of night whined at it. The legendgrains old as the
characters and scholars take it that he characters have
a very deep essence in them, reaching to the essence of the
universe and able to bring prosperity, or adversely,
misportune.

In order to get the meaning of archaic texts one
must study the development of the characters, and ₩ this
can be helped by a book made in the Kan (Han) H time
Kioshin's Setsumoro

Through the centuries many scholars neglected
this method

Discussion of text culminated in the so-called period

with the fashion of trying to ₩ explain the texts by
hard and fast meanings attatched to the words and
in dictionaries

the gave importance to the meaning of the
whole phrase or sentence

overstress of Mencius
caution. Don't miss
the meaning of the
but without looking closely at each character. whole by too
much stress on
any one part.
Legge's chonse
motto.

this put them in danger of inserting their own ideas
in place of the originals, and only under the ₩ dynasty
reiging in Mori's time awoke to the necessity of reexamining
the text in search of original meanings. hence many
dictionaries, notably Kenriu and Kokei,

but there are drawbacks.

Fenollosa's notes

2

The dried fish wept when passing the river
An And its regrets availed nothing
So then or at any time, so he wrote to a friend
as follows

MORI 24

often quoted in books. Rhyme , not specifically ...... But too simple and artless a style for poetry.

p. 60 She weaves and ends no pattern to day
Milky Way girl

and the heavy ox pulls and pulls

white hand slender , on shuttle

to the end of the day no pattern

Via lactea clear and shallow

far from each other

one wide river to cross

71 mongolian text , a original lost.

Unfolds the nine fold gate
and the holy banners attest

MM charity , charity knows . repose

blessing at rest

9 gates u fold in the doors of heaven
even

chung, leang. Morison 554 / heavy , wnlegws mwausure

tippet flag abo e big banner of gods , far far

9 gt gates start unfolding

open, measure, LIANG/

After meeting Mrs Fenollosa at Sarojini Naidu's in
in or about 19 she read some of my verse and
decided that I was the only person who could
deal with her late husband's note books
as he would wish. I was then totally ignorant of
ideogram but published three attempts to follow
her wishes, " Cathay " being what most interested me.,
the contents of

From his lecture on the Chinese Character I took what
seemed to me most needed, omitting the passages re/
sound. Prof. Carus delayed publication with the true
spirit of american professoriality. He did not ultimately
lose the ms. And there being nothing lower than the
state of professoriality in the U.S.

non raggiam di lor.

The notes on the Noh Plays had been carried to a point
where I felt it was unfair to the benevolent to
wait for further knowledge about them. During Mr
Rooselelt's war I had time in semi-isolation to learn a
bit about the written character. I was then separated from
the Fenollosa inheritance for a number of years, and
return to them only today, 17 Nov. 1958, after handing
over the ms/ of 96-109 de los Cantares, to the remarkable
Scheiwiller (V.)

amiable local
half-century of celebration
of my first publication (A Lume Spento), and having
last evening handed over the ms/ of 96-109 de los Cantares
to the remarkable Scheiwiller (V.)

I now tackle Fenollosa's penciled record of Mori's
lectures on the History of Chinese Poetry, with the
intention of transmitting them as his view of the
subject, his i.e. as just that, his view, which I am in
no way competent to affirm is the last word
on the matter, but which I shall, when I have typed out
the gist of it, submit the Mr Beauson Tseng for
confirmation or demur. Expecting fully that
whatever Mori thought will be in direct conflict with
every effort now made in the U.S. particularly at Yale and
Harvard to obscure the merit of the Chinese classics, and
impose the filth of brain wash, the hatred of the basic
quality, and of the finer nuances of expression, and to
of its ethic

Theikikah ikpose the grossness of journalistic "standards" on
all serious thought, including that of the orient.

After meeting Mrs Fenollosa at Sarojini Naidu's in
in or about 19 she read some of my verse and
decided that I was " the only person who could
deal with her late husband's note books
as he would wish. I was then totally ignorant of
ideogram but published three attempts to follow
her wishes, " Cathay " being what most interested me.,
the contents of

The notes on the Noh Plays had been carried to a point
where I felt it wd/ be unfair to the benevolent to
wait for further knowledge about them. During Mr
Rooselelt's war I had time in semi-isolation to learn a
bit about the written character. I was then separated from
the 'enollosa inheritance for a number of years, and
returned to them only today, 17 Nov. 1958, after handing
over the ms/ of 96-109 de los Cantares, to the remarkable
Scheiwiller (V.)

amiable local
half-century of century celebration
of my first publication ( A Lume Spento ), and having
last evening handed over the ms/ of 96-109 de los Cantares
to the remarkable Scheiwiller ( V. )

I now tackle Fenollosa's penciled record of Mori's
lectures on the History of Chinese Poetry, with the
intention of transmitting them as his view of the
subject, i.e. as just that, his view, which I am in
no way competent to affirm is the last word
on the matter, but which I shall, when I have typed out
the gist of it, submit the Mr Beauson Tseng for
confirmation or demur. Expecting fully that
whatever Mori thought will be in direct conflict with
every effort now made in the U.S. particularly at Yale and
Harvard to obscure the merit of the Chinese classics, and
impose the filth of brain wash, the hatred of the basic
quality, and of the finer nuances of expression, and to
of its ethic

I propose the grossness of journalistic "standards" on
all serious thought, including that of the orient.

It being remembered that E.P.8s pencil scribble is not always legible and that I. am a total dudd when it comes to deciphering any calligraphy later that 1487.

The HANHAN proper names are given provisionally, and the sinologues can enjoy themselves over ever japanese version of their illustrious forebaars. My comments should stand in margin in small italics.****

Correlate with Waddell and Sumerian entrance HANHAN via the Indus valley. Rock on Na Chi.

The written HANH signs had to be invented in order to combine the chinese speech with advanced thought brought in by the western tribe. The result due to effort to express the thought of one race through what was comprehensible to another.

Vide Walther L. B. Fisher on relation of mathematics to language

We do not know what characters Soketsu invented but can form an approximate idea because the Shu records that in time of Ching-wang the study of archaic writing was seriously studied, with indication of six CHANH classes of ideogram (1) the " point-to-parallel " or " finger matter ", indicating a fact or relation immediately visible :

3. HANHAN HANHAN HANHAN HANHAN combinations of sound and form having the sound as basis, and a form combined

with it

In this class are the names of Chinese rivers " because in that day they represented the sound of running water".

4. the expression of idea through (kwai) combination, either sound or form can enter as factor.

as bright-fire-jewel to indicate brightness. This helps a reader who does not know all the components of a complex ideogram. but can make out the drift from the component or components he does know. They are not exactly synonyms.

It being remembered that E.F.Ss pencil scribble is not always
legible and that I am a total dudd when it comes to
deciphering any calligraphy later that 1437.

The HUHUUH proper names are given provisionally, and the
sinologues can enjoy themselves over ever japanese version
of their illustrious forebaars. My comments should stand in
margin in small italics.****

Correlate with Waddell and Sumerian entrance HUH via the Indus valley. Rock on Na Chi.

The written HUH signs had to be invented in order
to combine the chinese speech with advanced thought brought
in by the western tribe. The result due to effort to
express the thought of one race through what was
comprehensible to another.

Vide Walther L. H Fisher on relation of mathematics to language

We do not know what characters Soketsu invented
but can form an approximate idea because the Shu records that
in time of Ching-wang the study of archaic writing was
seriously studied, with indication of six CHINE classes of
ideogram (1) the " point-to-ü " or " finger matter ", indicating
a fact or relation immediately visible :

3. HUHUH combinations of sound and form
with it

5. characters serving as annotation that is combinations
as bright-fire-jewel to indicate brightness. This helps
a reader who does not know all the components of a complex ideogram
but can make out the drift from the component or components he does
know. They are not exactly synonyms.

6. The temporarily borrowed.

Soketso used methods i to 4, but they would not
cover all necessities. There were words in spoken chinese for which
he could not invent ANY character by these methods. In such a
cases he took a sign already invented ḥšt for a
word of the same sound.

These are obviously the characters that are
hardest to understand in ancient writing, and the
words from which they are borrowed, that is the oral
correlatives, are now lost.

cf/ Egypt.

The word meaninn " to come " started by meaning
" rice in full fruit ", borrowed because the sound was the same,
but nowadays no one know it meant rice.

LEGEND is that Soketsu 's skill in finding the true chord of
nature was such that the heavens poured down grain, and the
demons of night whined at it. The legend grains old as the
characters and scholars take it that he characters have
a very deep essence in them, reaching to the essence of the
universe and able to bring prosperity, or adversely,
misfortune.

In order to get the meaning of archaic texts one
must study the development of the characters, and ḥšt this
can be helped by a book made in the Kan (Han) H time

Kioshin's Setsumoro

Discussion of text culminated in the so period

with the fashion of trying to ḥšt explain the texts by
hard and fast meanings attached to the words and
in dictionaries

overstress of Mencius
caution. Don't miss
the meaning of the
but without looking closely at each character.
whole by too
much stress
any one part.
Legge's chons
motto.

this put them in danger of inserting their own ideas
in place of the originals, and only under the Ḥšnšt dynasty
reigning in Mori's time awoke to the necessity of reexamining
the text in search of original meanings. Hence many
dictionaries, notably Kenriu and Kokei,

but there are drawbacks.

Fenollosa's notes

3

6. The temporarily borrowed.

Soketsu used methods i to 4, but they would not
cover all necessities. There were words in spoken chinese for which
he could not invent ANY character by these mentods. In such
cases he took a sign already invented for a
word of the same sound.

cf/ Egypt.
These are obviously the characters that are
hardest to understand in ancient writing, and the
words from which they are borrowed, that is the oral
correlatives, are now lost.

LEGEND is that Soketsu 's skill in finding the true chord of
nature was such that the heavens poured down grain, and the
demons of night whined at it. The legendgrains old as the
characters and scholars take it that he characters have
a very deep essence in them, reaching to the essence of the
universe and able to bring prosperity, or adversely,
misfortune.

In order to get the meaning of archaic texts one
must study the development of the characters, and in this
can be helped by a book made in the Kan (han) time
Kioshin's Setsumoro

Through the centuries, many scholars neglected
this method

Discussion of text culminated in the period

with the fashion of trying to explain the texts by
hard and fast meanings attached to the words and
in dictionaries

overstress of Mencius
caution. Don't miss
the meaning of the
but without looking closely at each character.
whole by too
much stress on
any one part.
Legge's choice
motto.

This put them in danger of inserting their own ideas
in place of the originals, and only under the Hsueh KING
dynasty
reiging in Mori's time awoke to the necessity of reexamining
the text in search of original meanings. Hence many
dictionaries, notably Kenriu and Kokei,

3

but there are drawbacks

Fenollosa's notes
on page back.

Explain characters

by Kio Shin

The right word said to be by
Confucius
or even by Bun wo
himself

explains the meaning mostly of
ideograms in Shu and Shih

Character collection
complied under So

ji yi

The subject is so vast and interesting that it distracts from the
study of THE CLASSICS as such.

One fellow discovers a new meaning, others compete,
and they get to digging into old texts as mere antiquaries. Ergo
there is reaction against this sort of thing.

" Dictionaries are new. There is another term for
the really old one attributed to Confucius and Setsumoro , which
are really good and based on character formation, but they have
( or had in Mori 's time , 1900 ) fallen into disuse.

There is the "G&G Voluminous

by Gen-gen

a new dictionary by a Chinese ( Doko )
very good for word formation and
based on the Setsumoro method.

Under So there was a volume called
jiyi , or sometimes min
but there are few lexico- graphers ?

scholars going to Jija or
Confucius. So scholars started
making dictionaries " from the
beginning

for beginners

The first complete dictionary was by Kang Hi ( under Kang Hi ? )
preceded by incomplete ones. but without analysis of the
of meanings , and with quotations that are often misleading
illustrated by

Mori thought they did neither good nor harm, even Koki neing too
superficial for scholars , but his comments re/ bearing on
poetry were of value. Though this was not exactly his province

3

but there are drawbacks

Explain characters

by Kio Shin

ji yi

"Dictionaries" are new. There is another term for
the really old one attributed to Confucius and Setsumoro, which
are really good and based on character formation, but they have
(or had in Mori's time, 1900) fallen into disuse.

There is the "G&G Voluminous

by Gen-gen

a new dictionary by a Chinese (Doko)
very good for word formation and
based on the Setsumoro method.

jiji, or sometimes min

but there are few lexico-raphers ?

for beginners

The first complete dictionary was by Kang Hi ( under Kang Hi ?)
preceded by incomplete ones, but without analysis of the
of meanings, and with quotations that are often misleading
illustrated by

Mori thought they did neither good nor harm, even Koki neing too
superficial for scholars, but his comments re/ bearing on
poetry were of value. Though this was not exactly his province

3

but there are drawbacks

Explain characters

by Kio Shin

ji yi

" Dictionaries" are new. There is another term for the really old one attributed to Confucius and Setsumoro, which are really good and based on character formation, but they have ( or had in Mori 's time, 1900 ) fallen into disuse.

There is the "G&G Voluminous

by Gen-gen

jiyi, or sometimes min

but there are few lexicon raphers ?

scholars going to Jija or

beginning

for beginners

The first complete dictionary was by Kang Hi ( under Kang Hi ?) preceded by incomplete ones. but without analysis of the of meanings, and with quotations that are often misleading illustrated by

4

His comments are valuable but have no special bearing on poetry4 which was not his particular ½ province.

Loss of original meanings under So due to neglect of Confucian studies, and to Confucians influenced by Zen trends rather than by strict reasoning.

E.P. Ngan ?

? Chuhi tried to prove that the Confucian system contained Zen philosophy.

Mori thought loss of meaning under So was from carelessness re/ antiquarian changes of characters

( or ancient )

meaning, and WHHWH wealth of meaning ".. using only the ordinary sense of a word and letting their " reasoning " wander unchecked.

gauging

In the whole current of chinese thought we must consider that KOTHI must have been very civilized , leaving

Kotei

deep imprint on law, economy, politics, military strategy and on architecture, yet without trace of what entered the Confucian canon, that is, no idea of filial piety, loyalty or faith

to the point that later scholars have called him father of Roshi, of the Roshi system of thinking. And the Roshi schollars have tried to make out that they follow Kotei.

Proving that Confucianism is not the product of the earliest chinese mentality but an artifact of something formed later.

Kotei's mental origins unascertained, but extraneous to China.

( Neither A. (? Ariga) nor M (Mori ?) thinks much of ? Laconperes' theories in proposito )

Kotei, Bun O or his ancestors ? in the time of Koriu, from a western tribe. What they then called Western Barbarians may have dwelt inside today's borders of China (Seigin)

Shensi was also Seigin

so also Shisen (down to Kotei)

(Shoku)

The proof that (?) Etei antedates Confucius is in record that Confucius wore out three copies by study of it, after his fiftieth year.

One can explain it on 'aoist lines as post-Kan scholars have done.

In Ekei alone Confucianism and 'aoism can meet.

Kotei was last of I (? Yin) emperors (Santei)

Fukku, Shinno & Kotei

then came 5 emperors (Gotei)

Shoko, Koyo and Koshi

then came Gio (/ Yao) and Shun

His comments are valuable but have no special bearing on poetry4 which was not his particular *hr* province.

E.P. Ngan ?

( or ancient )

meaning, and *whail* wealth of meaning ".. using only the ordinary sense of a word and letting their " reasoning " wander unchecked.

gauging

In the whole current of chinese thought we must consider that *kotei* must have been very civilized, leaving *Kotei*

to the point that later scholars have called him father of Roshi, of the Roshi system of thinking. And the Roshi schollars have tried to make out that they follow *Kotei*.

( Neither A. (? Ariga) nor M' (Mori ? ) thinks much of ? Laconperes' theories in proposito )

(Seigin)

Shensi was also Seigin

so also Shisen

(down to Kotei)

(Shoku)

One can explain it on *apist* lines as post-Kan scholars have done.

In Ekei *alone* Confucianism and *taosism* can meet.

Fukku, Shinno & Kotei

then came 5 emperors (Gotei)

4

His comments are valuable but have no special bearing on poetry4 which was not his particular province.

E.P. Ngan ?

(or ancient)

meaning, and which wealth of meaning "... using only the ordinary sense of a word and letting their " reasoning " wander unchecked.

gauging

In the whole current of Chinese thought we must consider that which must have been very civilized, leaving

Kotei

to the point that later scholars have called him father of Roshi, of the Roshi system of thinking. And the Roshi scholars have tried to make out that they follow Kotei.

Kotei's mental origins unspecified, but extraneous to China.

( Neither A. (? Ariga) nor M (Mori?) thinks much of ? Laconperes' theories in proposito )

(Seigin)

Shensi was also Seigin

(Shoku)

The proof that (? ) Etei antedates Confucius is in record that Confucius wore out three copies by study of it, after his fiftieth year.

One can explain it on a moist line as post-Kan scholars have done.

In Ekei alone Confucianism and Taoism can meet.

Fukku, Shinno & Kotei

then came 5 emperors (Kotei)

5

Shoko, Koyo, Koshi

then came Gio (? Yao) and Shun

Between Kotei and Geo-Shu(n) there was very little literature or even history. Confucius began his annals Shokio from Geo and Shun saying that before their time all was vague and unascertainable.

Moral System starts with Yao and Shun, Yao adopting the latter because of his poetry. From thence on we have both history and literature.

probably because correspondence with his

sun up work

p. 6

5

Between Kotei and Geo-Shu(n) there was very little literature or even history. Confucius began his annals of Shokio from Geo and Shun saying that before their time all was vague and uncertain.

Moral System starts with Yao and Shun, Yao adopting the latter because of his poety. From thence on we have both history and literature.

sun up work

p. 6

7

That is called the eartj-beating song, because the old folks
beat the ground for music while singing it.

*2nd. LECTURE

Mori noted the pre-Confucian condition, Taoist, indicated
in the Wide Street Song, natural government as opposed to
the " artificial " Confucian system

" not conscious, not knownig
Follow Emperor's rule. "

Gio's (Yao's) reign of a legendary 100 years, apparently
a mixture of laissez-faire and astrology. gradually working
into some sort of administrative system.

And that Confucius' history starts with Yao
because he cd/ discern some sort of moral principle in this.

During the 20 years that Yao shared government with Shun the
departmental system was developed, up to their flood, and
Yu picked to deal with it.

Poetry speaks phallic direction
Song keeps the word forever
Sound is moulded to mean this
And the measure moulds sound.

7

## *2pd. LECTURE
******

And that Confucius ' history starts with Yao
because he cd/ discern some sort of moral principle in this.

7

That is called the eartj-beating song , because the old folks
beat the ground for music while singing it.

2nd. LECTURE

" not conscious, not knownig

Follow Emperor's rule. "

Gio's ( Yao's ) reign of a legendary 100 years , apparently
a mixture of laissez-faire and astrology. gradually working
into some sort of administrative system.

Song keeps the word forever

Sound is moulded to mean this

And the measure moulds sound.

8

In Yao's formulation of government there is no chapter
on music and ritual

The ideogram poetry appears for the first time
( vid Legge's p. 45 Shih King ) in Shun's decree to his
officers. item

The next great HUOHUH is flood long troublesome, and Shun
set Yu to deal with it and studied the manners, customs,
economy of the different regions, their local governments
and taxation

South wind's fragrance
can disolve the people's anger

South wind's timlines

Can augment their well-being. ( no ideograms given
in notebook )

Second line excellently taken as " If I behave like it
I can dissolve the people's anger. "

Shun divided the empire into 9 main divisions

( Kin Shin ) which have remained in the history of chinese
thought, each province to pay its tax in the local staples
and specialities.

The South Wind poem, is the third left in
the record, in the " passing talk " of Confucius, not in
the Classics. And was sung, presumably, to accompaniment on
the 5 stringed Koto. It is taken as Shun's idea of good
government. The wind comes in early summer and is credited with
power in foliage and vegetable life.

Shun's anxiety

Shun speaks :

Ko ko ki sai

Gen- shu ki sai

Hialan ko ki saiH

The real rhyme is in the third character, the sai
is the " prolongation ".

3

The next great item is flood long troublesome, and Shun
set Yu to deal with it and studied the manners, customs,
economy of the different regions, their local governments
and taxation

South wind's fragrance
can disolve the people's anger
South wind's timelines

Shun's anxiety

Shun speaks :

Ko ko ki sai

Gen- Shu ki sai

Hialan ko ki saiH

The real rhyme is in the third character, the sai
is the " prolungation ".

8

The ideogram
( vid Legge's p. 45 Shih King ) in Shun's decree to his
officers.
item

The next great 民間 is flood long troublesome, and Shun
set Yu to deal with it and studied the manners, customs,
economy of the different regions, their local governments
and taxation

South wind's fragrance
can dissolve the people's anger
South wind's timlines

Shun's anxiety

Shun speaks :

Ko ko ki sai

Gen- Shu ki sai

Hialan ko ki saiH

The real rhyme is in the third character, the *sai*
is the " prolongation ".

Shun was anxious about his officials, exchanged verses with them to encourage their speaking out, especially with Koyo the minister of punishments, the verses starting

Ko-yo ( leg-arm, i.e. important minister ) are considered good Confucian poetry

In the second answer the minister was giving a moral lesson to his master, but excusable as it was done in a poem. The Classics say Shun 君君君君君 君 thanked him.

Shun traveled to the South, to Dotei (? rainily lake) and died in Sojo.

some say killed by rebellious tribes. There is a poem of Rihaku'w (Li Po) saying his ten ministers came south to meet him.

Shun handed over the 9 provinces to Yu (Wu) who gave the H name Ka to the union, Ka "summer" meaning g
meaning here 2 broad ". The next poem is said to have been
written by Shun at time of the transmission.

Kei men ran kei
Kiu man man kei
Jitsu getsu ko kwa
Tan fuku tan kei

( kei, in chinese yei pronounced

shining fire
knotted disbanding
sun, moon, bright flower
morning again morning.

Gate, gate of gleaming,
knotting, dispersing
flower of sun, flower of moon

new fire
day's dawn after day's dawn

Sin jih
Jih sin
on T'ang's tub.

Shun addressed NH Wu (Yu) and his other 8 high ministers, who answered.

In the Eight Counts song which on literal interpretation wd/ seem hyperbolic. The stars are arrayed in bright heaven in true allignment, but the sun and moon take their light from one man.

Taken metaphorically it might set the
intelligence in nature above the material solidifications.

["9", "Shun was anxious about his officials, exchanged verses with them to encourage their speaking out, especially with Koyo the minister of punishments, the verses starting", "Ko-yo ( leg-arm, i.e. important minister ) are considered good Confucian poetry", "In the second answer the minister was giving a moral lesson to his master, but excusable as it was done in a poem. The Classics say Shun 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9

In the second answer the minister was giving a moral lesson to his master, but excusable as it was done in a poem. The Classics say Shun 書渾渾乃述而讚頌 thanked him.

some say killed by rebellious tribes. There is a poem of Rihaku's (Li Po) saying his ten ministers came south to meet him.

Shun handed over the 9 provinces to Yu (Wu) who gave the name Ka to the union, Ka "summer" meaning g
meaning here 2 broad ". The next poem is said to have been
written by Shun at time of the transmission.

(kei, in chinese yei pronounced

shining fire
knotted disbanding
sun, moon, bright 星月花
morning again morning.

Gate, gate of gleaming,
knottling, dispersing
flower of sun, flower of moon

dawn after day's dawn 新火

Shun addressed Shun (Yu) and his other 8 high ministers, who answered.

Taken metaphorically it might be set the
intelligence in nature above the material solidifications.

10

After Wu (Yu) had handed over the government to Eki, and Eki had handed it to Wu's son Kei, there were 17 reigns, Ka hereditary till the tyrant Ketsu dynasty

~~17 generations to Ketsu~~

~~29 generations of the In, or Flowery Sky,~~

~~21st, down to Chu O~~

~~5 poems of this period are preserved by Confucius, as foreshadowing the great doctrine of revolution.~~

~~kaku mei~~

~~the 8th Tanbo & Butei, were virtuous~~

革命

About the middle of In there was a Dai O, Great king, intent on developing the moral HUNGHU subjugation of people thru agriculture.

Faced with invasion from the west his people offered to fight and die for him. He decided against sacrificing other men's sons and brothers in order to remain a rule, and odered a migration to eastward. The people moved into a provence of Shensi called Gijon lying north west of Choan, a place easily defended and fertole, called Shu (Chou) and the place name became that of the Dynasty.

Before Bun O's time, there is no form of poetry that needs special study, (he was conscious that poetry outlasts ritual.

???

the notes are fairly ambiguous and indesciphrable. It may indicate, conscious poetry outlasts natural.

Great literary activity, at the end of In.

? " fang ", some informal stuff was earlier than that dynasty. Or(?)"poems of badness", that Kung did not care to preserve.

June 7, 1901

Lecture re/ historical events, /Ko with mention of

the socalled 3000 poems of Shu, from which Kung selected 300, which are not called a compilaton but a " striking out ".

And divided into three classes : Fu, Ga and Sho.

The Fu or " wind " implying unconscious moral influence, not artificial, nobody teaches, but everyone follows.

Confucius extended it to denote a class of poems that express local feeling. emerging from custom and manners. The metaphoric slant is as of winf moving grain. They are divided as from 15 HUNGHU provinces.

Ga, the correct, righteous, re/ how governments rise and fall. HUNGHU. They are by known authors, mostly high government officials. Authors of " Fu " mostly unknown.

Sho, objectify wishes, spiritual powers either of heavenly gods or of ancestral spirits. to be sung on occasion of great court festivities, and made poetry ceremonious in the time of Sei O, grandson of Bun O

10

from which we have no literary remains, or at least no poem unless one attribution can be taken as genuine. Confucius did not accept it. the 8th Tanbo & 17 generations to Ketsu 21st, Butei, were 29 generations of the In, or Flowery Sky, down to Chu O virtuous 5 poems of this period are preserved by Confucius, as foreshadowing the great doctrine of revolution. kaku mei

革命

About the middle of In there was a Dai O, Great king, intent on developing the moral and subjugation of people thru agriculture.

Faced with invasion from the west his people offered to fight and die for him. He decided against sacrificing other men's sons and brothers in order to remain a rule, and ordered a migration to eastward. The people moved into a provence of Shensi called Gijon lying north west of Choan, a place easily defended and fertole, called Shu (Chou) and the place name became that of the Dynasty.

"Before Bun O'k time, there is no form of poetry that needs special study, he was conscious that poetry outlasts ritual. the notes are fairly ambiguous and indesciprable. It may indicate, conscious poetry outlasts natural.

? "fang", some informal stuff was earlier than that dynasty. Or(?)"poems of sadness", that Kung' did not care to preserve.

June 7, 1901

Lecture re/historical events, /k# with mention of

the so-called 3000 poems of Shu, from which Kung selected 300, which are not called a compilation but a "striking out".

And divided into three classes: Fu, Ga and Sho.

The Fu or "wind" implying unconscious moral influence, not artificial, nobody teaches, but everyone follows.

Confucius extended it to denote a class of poems that express local feeling, emerging from custom and manners. The metaphoric slant is as of wind moving grain. They are divided as from 15 provinces.

Ga, the correct, righteous, re/ how governments rise and fall. They are by known authors, mostly high government officials. Authors of "Fu" mostly unknown.

Sho, objectify wishes, spiritual powers either of heavenly gods or of ancestral spirits, to be sung on occasion of great court festivities, and made poetry ceremonies in the time of Sei O, grandson of Bun O

10

dungho from which we have no literary remains, or at least no poem unless one attribution can be taken as genuine. Confucius did not accept it. the 8 th Tanbo & 17 generations to Ketsu 21st, Butei, were 29 generations of the In, or Flowery Sky, down to Cim O virtuous 5 poems of this period are preserved by Confucius, as foreshadowing the great doctrine of revolution. Kaku mei

革命

About the middle of In there was a Dai O, Great king, intent on developing the moral Hsueh Hsueh subjugation of people thru agriculture.

Faced with invasion from the west his people offered to fight and die for him. He decided against sacrificing other men's sons and brothers in order to remain a rule, and ordered a migration to eastward. The people moved into a province of Shensi called Gijon lying north west of Choan, a place easily defended and fertile, called Shu (Chou) and the place name became that of the Dynasty.

Before Bun O's time, there is no form of poetry that needs special study, he was conscious that poetry outlasts ritual.

June 7, 1901

Lecture re/ historical events, /K with mention of

the so-called 3000 poems of Shu, from which Kung selected 300, which are not called a compilaton but a "striking out".

Confucius extended it to denote a class of poems that express local feeling, emerging from custom and manners. The metaphoric slant is as of wind moving grain. They are divided as from 15 MEncHUN provinces.

Ga, the correct, righteous, re/ how governments rise and fall. MEncHUN. They are by known authors, mostly high government officials. Authors of "Fu" mostly unknown.

11

B

Shu

His successors handed them down. Fū

Fū

Mori gives 3 technical terms: Fū Shū
Ho, meaning to beat out metal

Shū

Fū

as equivalent of

implying a poem that
expounds the facts of things as they are,

later it came to mean a very long poem aimed merely
at amplifying or analyzing an event, as in chronicles.

Hi

Literally "parallel ". the comparison or description
of one thing via something that has nothing to do with it,
such as whiteness of skin , via snow.

Kio

meaning both pleasure and rise or raise
united so far as it dealw with something from outside that
strikes one and " raises " pleasure or sorrow. These poems
are not a description of a scene or thing but of the feeling
caused by it. The described object as implement.

Confucius recognizes these three kinds of poem in all
his divisions or classes, not excluding those which indicate
a fallen state of morality, necessary by way of contrast.
Mori though most of these latter had been struck out.

As to Confucius arrangement " A good government must be based
on knowledge of popular feeling" and the best means of knowing
this in thru poems , " the natural outpouring of their natures ".

Later poets can be classified under his categories.

Rihaku : fu

Toshimi : ga , tho of course not exclusively so.

As the Confucian Anthology is now available in English, the
reader can apply Mori's talk to it.

Starting with Shunan, and Shonan, the two books of the
small South provinces, morally qualified as "Sei fu"
or "right wind" re/ customs that can be taken as models.

the other 13 provinces are " ōem pu " or not normal.

the changed wind, popular feelings as result of bad government

The GA, as right GA and changed ŌH GA

In Bunō's reign Taikoki took the matter of war ; SHINKOHHHD
Shinko and Shiko, government.

cf/ terminology " matter of France
Rome etc.

and Dante's " Love, War and
holiness.

11

B

Shu

Mori gives 3 technical terms: YO, BHH, and H as equivalent of NO, meaning to beat out metal

Hi
---
Literally "parallel", the comparison or description of one thing via something that has nothing to do with it, such as whiteness of skin, via snow.

Kio
---
meaning both pleasure and rise or raise

Confucius recognizes these three kinds of HH poem in all his divisions or classes, not excluding those which indicate a fallen state of morality, necessary by way of contrast.

Rihaku : fu

the other 13 provinces are " hem pu" or not normal.

the changed wind, popular feelings as resultsof bad government

The GA, as right GA and changed HHH GA

In BunO's reign Taikoki took the matter of war ; Shinko and Shiko , government.

cf/ terminology " matter of France etc.

and Dante's " Love, war and holiness.