Zhuangzi Enter Key Line Break No Translation Needed, Other Chinese to be Translated to English: Annotation on the Meaning of "Qi Kou Yi"

Author: Lin Xiyi
Editor: Mao Shuangmin
Publisher:
Publishing Date: 1997-03-01
Features:
1. This book is based on the Ming Wanli 2nd Year edition of Shi Guanmin (abbreviated as Shi Edition). This edition reflects the results of Ming scholars' collation and has fewer errors. However, it was found that some parts were supplemented with other versions of Zhuangzi, which is an unnecessary addition.
2. Reference editions:
① Song Xianchun 5th Year edition of Yan Nian (abbreviated as Song Edition). This is currently the only surviving Song Dynasty edition, with complete prefaces and postfaces, minimal textual errors, and can be considered close to the original. The "Kouyi" (Commentary on Zhuangzi) was compiled in the Baoyou 6th Year and was published by Lin Jingde in the early Jingding period. By the Xianchun 5th Year, Chen Meiyan reprinted it, stating in his preface: "This board was originally carved in Qiao, and it is convenient to read but difficult to carry in a small bag. The larger version of the current edition fits into the bag, and the sparser text is made denser, so that the meaning can be seen at a glance, just as I obtained it easily." The direct pronunciations are often missing, leaving spaces as if they were to be filled but were never completed.
② Daozang edition. This is a Ming Zhengtong edition, although it has more errors than the above two, its variant readings show that it was derived from another system of printing, making it of considerable reference value.
3. For textual errors or omissions in the base text, corrections are made based on other editions and other materials, with annotations explaining the changes. Reference variant readings from other editions are noted in the annotations. General typographical errors are corrected without annotations. Minor discrepancies in quotations that do not affect the original meaning are not corrected, while significant discrepancies are explained in the annotations.
4. The prefaces and postfaces of the Song edition are appended at the end, arranged in chronological order.
5. The Song edition and Shi edition have appended annotations on Zhuangzi, which are mostly excerpted from Lu Deming's "Jingdian Shifu Zhuangzi Yinyi." There are many copy errors and other mistakes, and they do not align with the existing annotations in "Kouyi," so they were decided to be omitted.
6. The Song edition and Daozang edition have small double-line annotations on Zhuangzi, while the Shi edition has very few. The annotations in the Song and Daozang editions also differ, likely added by later scholars, and no annotations are provided.
7. The main text of Zhuangzi is punctuated according to the principles of "Kouyi."
8. Only allusions to Confucianism, Buddhism, and other aspects mentioned in "Kouyi" are annotated, not direct references to Zhuangzi. If the original text already indicates the source, it is not annotated unless necessary. Terms and sentences from other chapters of Zhuangzi are not annotated.
Excerpt:
Lin Xiyi once gained some knowledge from Le Xuan, [6] and through Le Xuan, learned Ai Xuan's teachings, [7] gaining a slight understanding of the essence of the text. He also frequently read Buddhist books and later realized the intricate changes of the text, claiming to have gained some insights that previous scholars had not fully explored. Later, he obtained interpretations from Lu Jifu, Wang Yuanze, and others, [8] which, though slightly more detailed than Guo Xiang's, lacked clarity, making it even more confusing about Zhuangzi. In my opinion, this book could stand alone in the world without offending the Confucian tradition. If Zhuangzi were to return, he could be called "Ziyun of a thousand years later," [9] not out of disrespect for the author, but to share with fellow scholars. [10] [3] "Jifeng" is a term from Buddhist Chan sect, referring to rapid and profound exchanges that do not fall into conventional patterns. [4] "Chan School's sudden enlightenment" was originally written as "Chan School's sect," corrected based on the Song edition and Daozang edition. [5] "Sword edge matters" refer to the Chan sect's use of sharp and challenging methods to break delusions and worldly attachments. Volume 9 of "Wudeng Huayan": "The master (Yanshan Huiji Zen Master) was lying when a monk asked, 'Can the Dharma body teach the Dharma?' The master said, 'I cannot say it, but I can see someone else say it.' The monk asked, 'Where is the person who can say it?' The master pushed his pillow. Oshan heard and said, 'Yanshan uses sword edge matters.'" [6] "Le Xuan" refers to Chen Zao, styled Yuanjie, titled Le Xuan, a Southern Song Dynasty scholar from Fuzhou, a Confucianist who studied under Lin Yizhi and was a second-generation disciple of Lin Guangchao. He was posthumously titled Wenyuan and had an eight-volume collection titled "Le Xuan Ji." [7] "Ai Xuan" refers to Lin Guangchao, styled Qianzhi, titled Ai Xuan, from Putian. A (imperial scholar) in the first year of the Longxing era of the Southern Song Dynasty, he held positions such as Guangxi Tiedianxun and Zhongshu She. He was posthumously titled Wenjie and was a Confucianist who founded the Ai Xuan school and had a collection titled "Ai Xuan Ji." [8] "Lu Jifu" refers to Lu Huiqing, styled Jifu, from Jingshan in the Northern Song Dynasty, who wrote "Zhuangzi Yi" in ten volumes, now available in a collated edition by Chen Renzhong. "Wang Yuanze" refers to Wang Peng, styled Yuanze, from Linchuan in the Northern Song Dynasty, the son of Wang Anshi. A (imperial scholar) in the fourth year of the Yeping era, he held positions such as Tianzhangge Dazhi and had works like "Nanhua Zhenjing Xin Chuan" and others. [9] "Ziyun" refers to Yang Xiong, styled Ziyun, known for his insight (see "Han Shu" Volume 72). [10] The Daozang edition is signed: "Lin Xiyi of Mingzhai's preface," followed by a small paragraph: "Zhuangzi was a native of Song, named Zhou, styled Zixiu, born in Meng County, Suizhou. He once served as an official in Meng's Luyuan. He studied extensively but ultimately followed the teachings of Laozi. Therefore, his writings, totaling over 100,000 words, were mostly allegorical. His words were vast and unrestrained, so he was not appreciated even by kings and officials. The King of Chu heard of his talent and sent envoys with generous gifts to invite him to be his prime minister. Zhou smiled at the envoys, saying, 'A thousand gold is a great reward; the prime minister's position is a noble one.'"
Postscript: The "Nanhua" book is a marvel of ancient and modern times. However, those who admire it may lean toward emptiness, while those who criticize it may doubt its strangeness. Although its subtle words cannot be lost, the lack of clear annotations has long been a burden to the book. When I was young, I served Le Xuan Chen, the master, and heard his remaining discussions, which I greatly admired but could not fully understand. Later, I studied with Zhu Xi in the two academies, often reading it together, admiring its clarity but finding it inconsistent, and learning little, yet my admiration grew. After passing the imperial examinations, I spent a long time in leisure in the south, delving into the classics, and the more I read this book, the more I admired it but also the more puzzled I became. The reason this book is difficult to understand is that its terms often differ from ours, its discussions sometimes contradict the sages, and its meaning is hard to fathom, as if capturing the elusive Xiangwang in the void or grasping the dragon with bare hands, as if tracing the three rivers and losing the main course. Every time I opened it, I was both delighted and bewildered. In the Wuyao year, I visited Zhu Xi at Xixi, and he suddenly said to me, "I once wanted to cleanse the flaws of Guo Xiang and Xiang in the 'Nanhua' immortal, but I was too busy to close my door and write books. Since my hardships and setbacks, I have used this to alleviate my worries and entertain my old age. Now the book is finally completed." I was delighted and immediately sought it. Upon returning, I read it eagerly and found it well-organized, with clear chapters, sentences, and words, each with a distinct meaning. The vague was made clear, the different was made the same, the doubtful was made certain, and the missing was completed, making the "Nanhua" a complete book for thousands of years. Not only would the immortal Zhuangzi rejoice in the nine miles above, but Le Xuan would also dance and leap in anticipation."
Someone said: Combining the study of life-and-death with textual interpretation, like Zhu Xi's "Jicheng," there are annotations for the "Yijing" to the "Shoujun," but there is a lack of annotations for Zhuangzi—could there be no reason? The same person said: From Yao and Shun to Zhuangzi and the "Shou," isn't this what Han Gong said? The Jin and Song dynasties did not fully capture the essence of Zhuangzi—wasn't this what Zhu Xi said? Otherwise, could there be something left unfinished? Or was it meant to be this way? The contribution of Mingzhai is not inferior to that of Zhu Xi. I fear that scholars may forget the difficulty of the past and the ease of the present, and may neglect it. Therefore, I repeat this. In the Jingding Xinyao year, the 15th day of the eighth month, Lin Tong of Shitang wrote this with care.
Zhuangzi is majestic and unrestrained, moving with the spirit above all things and wandering with the mind beyond the universe. He reaches the peak of joy, a figure unmatched in ancient times. His words are turbulent and ever-changing, soaring above the sun and moon, piercing through clouds and rivers, subtle and flowing, like fish and feathers shining in the sky and sea. Left ornate yet not grand, moving yet not unrestrained, he is also a literary giant in the universe.
Lin Xiyi wrote this book, and his interpretations are like the immersion of the sea and the nourishment of the fat, feeling what he felt and thinking what he thought, dreaming what he dreamed and awakening what he dreamed. Therefore, he could speak his words and point his meaning. His voice, laughter, and appearance were as if he personally appeared and people personally witnessed him. Yet, how could this be easily achieved?
Lin Xiyi's learning is profound, his insight unparalleled, with deep roots and extensive practice. His enlightenment and touch are so high and vast that nothing can compare, and his calm depth leads him to sudden understanding. I see Lin Xiyi, standing firmly with his aspirations in the universe, abundant and brilliant, able to express himself. Is he not like Kun and Peng? Yet he immersed himself so deeply in his book, then how could anyone else understand his words?
Now, Lin Xiyi's work has resurrected Zhuangzi from the dust, uncovering the treasures of the past thousand years. Lin Xiyi is also a broad and majestic scholar! When I first read this, I wrote about the extraordinary encounter at the end of the book to pass it on to my descendants, not daring to say that I fully understood Lin Xiyi's book.
In the eleventh month of the Xinyao year, the ninth day of the first month, Xu Lin of Sanqu wrote this postscript.
Su Dongpo, the scholar, wrote Zhuangzi, saying that it was mostly allegorical, with very few direct statements. The "Six Classics" are direct statements, and directness means no strangeness. Zhuangzi is allegorical, and allegory is strange. To say that Yao yielded to Wu Guang, Zhi mocked Confucius, the tree in the village appeared in a dream, the metal could leap, the emperor of the southern sea, the emperor of the northern sea, and the central emperor, the excavation of Huandun, the tiny sky and earth, the child playing with people—wasn't this strange?
I have been familiar with the inner and outer chapters of Zhuangzi since childhood, with many doubts. When I read the annotations, it was as if I was in the fog and mist of Guo Xiang. A friend came to visit and discussed Mingzhai's "Kouyi," with intact sentences and complete meaning. I urgently requested it and obtained it in ten days. I carefully reviewed it and found that it said, "This is the wonder of the text," "These words are unique," "These characters are spirited," even surpassing the exchanges of Han Yu and Li Bai. Poetry passed from Fuqiu Bo to Kong An'gu, and the "Shu" passed from Fu Sheng to Xiahou Sheng. Mingzhai's learning came from Le Xuan and Ai Xuan, and learning must have a teacher. I did not write a staff or a book under the ruins, or a sea on the land, but one day I obtained it—how easy was that! If it is not widely spread beyond the heavens and earth, then the beauty of literature and the sound of bells and drums will be lost to the blind and deaf.
This board was originally carved in Qiao, and it was convenient to read but difficult to carry in a small bag. The larger version of the current edition fits into the bag, and the sparser text is made denser, so that the meaning can be seen at a glance, just as I obtained it easily. However, Mingzhai spent leisure years in tranquility, working on subtle skills—this is just a glimpse.
The Hanlin master is not the Zhuangzi immortal. If used, take the "Six Classics" to go. I hereby publish this edition at Yan Nian and note it at the end of the book.
In the summer of the Xianchun year, Chen Meiyan, styled Nanfu, wrote this in Qingxin of the prefecture.