Mao Shi (Shuyun Lou Congkan)

Author: (Chinese) Zheng Xuan's Annotations
Publisher:
Publication Date: 2003-12-01
Features: The small book format, known as "jinxiangben," originated in the Southern Qi Dynasty and flourished during the Song Dynasty. From the Ming and Qing dynasties onwards, new designs emerged in each era. The term "jinxiang" refers to the small boxes used in ancient times to store handkerchiefs and miscellaneous items. The ancients read while traveling, sitting, or lying down, at any time and place, and always carried books with them. Thus, the format was reduced to fit into these small boxes—convenient for carrying on the go and easy to consult while resting. Leisurely, one could browse through them. Although the small book format is considered the younger sibling in the world of books, it upholds the principle of Confucius’s "learning and timely practice," and its contribution is significant. Regrettably, in modern times, Western influences have spread eastward, and books have increasingly adopted Western bindings. While embellishing and becoming more elaborate, they have grown heavier. Carrying them is like a burden for an ox, and reading in bed becomes a struggle for even a short time. Worse still, some are outwardly rich but inwardly hollow, valuing the container over the content, misleading readers and drifting farther from the true essence of books. The Ancient Society’s small book series was created with purpose, learning from the successes and failures of past small book formats. It aims to return to simplicity and elegance, promoting national heritage. The design should be small yet complete, affordable yet carefully selected for quality, and the selected titles should be appropriate, with a special emphasis on personal charm and poetic interest. The arrangement should be logical, and whether purchased individually or collected, it delights the reader. Enhanced with fragrant paper and vibrant color printing, meticulous proofreading, and dynamic layouts, this series demonstrates great effort and dedication to small books, making them irresistible upon first sight. Mountains need not be high to be sacred; books need not be expensive to possess character. Therefore, the series is named "Shuyun Lou," and refined gentlemen will surely appreciate its essence. This is the preface.
The Mao Shi is China’s first comprehensive collection of poems. Since the Han Dynasty, it has been annotated by many scholars, with Zheng Xuan’s annotations from the Han Dynasty and Zhu Xi’s collected annotations from the Song Dynasty being particularly renowned. Zheng Xuan’s annotations on the Mao Shi, published seventy years ago by the Commercial Press in Shanghai, were based on the Song-era Xiangtai Yue’s Jiaoshu edition and are considered one of the best available versions of his annotations. To enhance the practicality and collectibility of this book, it is published in a line-bound small book format with color printing, featuring a unique style that refreshes the eyes and ears.
The Guofeng (State Fragments) of Qu (The Cuckoo) reflects the virtue of the queen consort. It is the beginning of the Feng (Air) section, used to influence the people and regulate the relationships between husband and wife. Thus, it is applied to the villages and the states. Feng means to move and influence, and to teach and reform. Poetry is the direction of the heart. When it is in the heart, it is called zhi (intention); when it is expressed in speech, it becomes poetry. When emotions are moved within and shaped in words, but speech is insufficient, one sighs. When sighing is insufficient, one sings long songs. When long songs are insufficient, one does not know whether to dance or leap. Emotions expressed in sound, when arranged in patterns, become music. The music of a well-governed age is peaceful and joyful, reflecting harmonious governance. The music of a chaotic age is resentful and angry, reflecting corrupt governance. The music of a ruined state is sorrowful and reflective, reflecting the people’s suffering. Therefore, poetry can correct or condemn, move heaven and earth, and move gods and spirits—nothing is closer to it. The ancient kings used it to regulate the relationships between husband and wife, to cultivate filial piety and respect, to strengthen human bonds, to beautify education, and to reform customs. Thus, poetry has six meanings: one is Feng (Air), two is Fu (Rhapsody), three is Bi (Metaphor), four is Xing (Association), five is Ya (Elegy), and six is Song (Hymn). The superior uses Feng to influence the inferior, and the inferior uses Feng to critique the superior. It employs gentle language to subtly advise, so that the speaker is blameless and the listener is sufficiently warned. Therefore, it is called Feng.