|Original title||詩 *s.tə|
|Subject||Ancient Chinese poetry and song|
|Classic of Poetry|
|Traditional Chinese||詩 經|
|Simplified Chinese||诗 经|
The Classic of Poetry, also Shijing or Shih-ching (Chinese :詩經; pinyin :Shījīng), translated variously as the Book of Songs, Book of Odes or simply known as the Odes or Poetry (Chinese :詩; pinyin :Shī), is the oldest existing collection of Chinese poetry, comprising 305 works dating from the 11th to 7th centuries BC. It is one of the "Five Classics" traditionally said to have been compiled by Confucius, and has been studied and memorized by scholars in China and neighboring countries over two millennia. It is also a rich source of chengyu (four-character classical idioms) that are still a part of learned discourse and even everyday language in modern Chinese. Since the Qing dynasty, its rhyme patterns have also been analysed in the study of Old Chinese phonology.
Early references refer to the anthology as the 300 Poems ( shi ). The Odes first became known as a jīng, or a "classic book", in the canonical sense, as part of the Han Dynasty official adoption of Confucianism as the guiding principles of Chinese society.[ citation needed ] The same word shi later became a generic term for poetry. In English, lacking an exact equivalent for the Chinese, the translation of the word shi in this regard is generally as "poem", "song", or "ode". Before its elevation as a canonical classic, the Classic of Poetry (Shi jing) was known as the Three Hundred Songs or the Songs.
The Classic of Poetry contains the oldest chronologically authenticated Chinese poems.The majority of the Odes date to the Western Zhou period (1046–771 BC), and were drawn from around 15 kingdoms, those which were mainly provinces and cities in the Zhongyuan area. A final section of 5 "Eulogies of Shang" purports to be ritual songs of the Shang dynasty as handed down by their descendants in the state of Song, but is generally considered quite late in date. According to the Eastern Han scholar Zheng Xuan, the latest material in the Shijing was the song "Tree-stump Grove" (株林) in the "Odes of Chen", dated to the middle of the Spring and Autumn period (c. 600 BC).
Ah! Solemn is the clear temple, 於穆清廟
Reverent and concordant the illustrious assistants. 肅雝顯相
Dignified, dignified are the many officers, 濟濟多士
Holding fast to the virtue of King Wen. 秉文之德
Responding in praise to the one in Heaven, 對越在天
They hurry swiftly within the temple. 駿奔走在廟
Greatly illustrious, greatly honored, 不顯不承
May [King Wen] never be weary of [us] men. 無射於人斯
|Part||Number and meaning||Date (BC)|
|國風 Guó fēng||160 "Airs of the States"||8th to 7th century|
|小雅 Xiǎo yǎ||74 "Lesser Court Hymns"||9th to 8th century|
|大雅 Dà yǎ||31 "Major Court Hymns"||10th to 9th century|
|周頌 Zhōu sòng||31 "Eulogies of Zhou"||11th to 10th century|
|魯頌 Lǔ sòng||4 "Eulogies of Lu"||7th century|
|商頌 Shāng sòng||5 "Eulogies of Shang"||7th century|
The content of the Poetry can be divided into two main sections: the "Airs of the States", and the eulogies and hymns.The "Airs of the States" are shorter lyrics in simple language that are generally ancient folk songs which record the voice of the common people. They often speak of love and courtship, longing for an absent lover, soldiers on campaign, farming and housework, and political satire and protest. On the other hand, songs in the two "Hymns" sections and the "Eulogies" section tend to be longer ritual or sacrificial songs, usually in the forms of courtly panegyrics and dynastic hymns which praise the founders of the Zhou dynasty. They also include hymns used in sacrificial rites and songs used by the aristocracy in their sacrificial ceremonies or at banquets.
"Court Hymns", contains "Lesser Court Hymns" and "Major Court Hymns". Most of the poems were used by the aristocracies to pray for good harvests each year, worship gods, and venerate their ancestors. The author of "Major Court Hymns" are nobilities who were dissatisfied with the political reality. Therefore, they wrote poems not only related to the feast, worship, and epic but also to reflect the public feelings.
Whether the various Shijing poems were folk songs or not, they "all seem to have passed through the hands of men of letters at the royal Zhou court".In other words, they show an overall literary polish together with some general stylistic consistency. About 95% of lines in the Poetry are written in a four-syllable meter, with a slight caesura between the second and third syllables. Lines tend to occur in syntactically related couplets, with occasional parallelism, and longer poems are generally divided into similarly structured stanzas.
All but six of the "Eulogies" consist of a single stanza, and the "Court Hymns" exhibit wide variation in the number of stanzas and their lengths. Almost all of the "Airs", however, consist of three stanzas, with four-line stanzas being most common.Although a few rhyming couplets occur, the standard pattern in such four-line stanzas required a rhyme between the second and fourth lines. Often the first or third lines would rhyme with these, or with each other. This style later became known as the " shi " style for much of Chinese history.
One of the characteristics of the poems in the Classic of Poetry is that they tend to possess "elements of repetition and variation".This results in an "alteration of similarities and differences in the formal structure: in successive stanzas, some lines and phrases are repeated verbatim, while others vary from stanza to stanza". Characteristically, the parallel or syntactically matched lines within a specific poem share the same, identical words (or characters) to a large degree, as opposed to confining the parallelism between lines to using grammatical category matching of the words in one line with the other word in the same position in the corresponding line; but, not by using the same, identical word(s). Disallowing verbal repetition within a poem would by the time of Tang poetry be one of the rules to distinguish the old style poetry from the new, regulated style.
The works in the Classic of Poetry vary in their lyrical qualities, which relates to the musical accompaniment with which they were in their early days performed. The songs from the "Hymns" and "Eulogies", which are the oldest material in the Poetry, were performed to slow, heavy accompaniment from bells, drums, and stone chimes.However, these and the later actual musical scores or choreography which accompanied the Shijing poems have been lost.
Nearly all of the songs in the Poetry are rhyming, with end rhyme, as well as frequent internal rhyming.While some of these verses still rhyme in modern varieties of Chinese, others had ceased to rhyme by the Middle Chinese period. For example, the eighth song (芣苢 Fú Yǐ ) has a tightly constrained structure implying rhymes between the penultimate words (here shown in bold) of each pair of lines:
|Chinese characters||Mandarin pronunciation (pinyin)||Early Middle Chinese (Baxter)|
|采采芣苢、薄言采之。||Cǎi cǎi fú yǐ, báo yán cǎi zhī.||tshojX tshojX bju yiX, bak ngjon tshojX tsyi.|
|采采芣苢、薄言有之。||Cǎi cǎi fú yǐ, báo yán yǒu zhī.||tshojX tshojX bju yiX, bak ngjon hjuwX tsyi.|
|采采芣苢、薄言掇之。||Cǎi cǎi fú yǐ, báo yán duó zhī.||tshojX tshojX bju yiX, bak ngjon twat tsyi.|
|采采芣苢、薄言捋之。||Cǎi cǎi fú yǐ, báo yán luó zhī.||tshojX tshojX bju yiX, bak ngjon lwat tsyi.|
|采采芣苢、薄言袺之。||Cǎi cǎi fú yǐ, báo yán jié zhī.||tshojX tshojX bju yiX, bak ngjon ket tsyi.|
|采采芣苢、薄言襭之。||Cǎi cǎi fú yǐ, báo yán xié zhī.||tshojX tshojX bju yiX, bak ngjon het tsyi.|
The second and third stanzas still rhyme in modern Standard Chinese, with the rhyme words even having the same tone, but the first stanza does not rhyme in Middle Chinese or any modern variety. Such cases were attributed to lax rhyming practice until the late-Ming dynasty scholar Chen Di argued that the original rhymes had been obscured by sound change. Since Chen, scholars have analyzed the rhyming patterns of the Poetry as crucial evidence for the reconstruction of Old Chinese phonology.
Traditional scholarship of the Poetry identified three major literary devices employed in the songs: straightforward narrative ( fù 賦 ), explicit comparisons (bǐ 比 ) and implied comparisons (xìng 興 ). The poems of the Classic of Poetry tend to have certain typical patterns in both rhyme and rhythm, to make much use of imagery, often derived from nature.
Although the Shijing does not specify the names of authors in association with the contained works, both traditional commentaries and modern scholarship have put forth hypotheses on authorship. The "Golden Coffer" chapter of the Book of Documents says that the poem "Owl" (Chinese :鴟鴞) in the "Odes of Bin" was written by the Duke of Zhou. Many of the songs appear to be folk songs and other compositions used in the court ceremonies of the aristocracy. Furthermore, many of the songs, based on internal evidence, appear to be written either by women, or from the perspective of a female persona. The repeated emphasis on female authorship of poetry in the Shijing was made much of in the process of attempting to give the poems of the women poets of the Ming-Qing period canonical status. Despite the impersonality of the poetic voice characteristic of the Songs, many of the poems are written from the perspective of various generic personalities.
According to tradition, the method of collection of the various Shijing poems involved the appointment of officials, whose duties included documenting verses current from the various states which constituting the empire. Out of these many collected pieces, also according to tradition, Confucius made a final editorial round of decisions for elimination or inclusion in the received version of the Poetry. As with all great literary works of ancient China, the Poetry has been annotated and commented on numerous times throughout history, as well as in this case providing a model to inspire future poetic works.
Various traditions concern the gathering of the compiled songs and the editorial selection from these make up the classic text of the Odes: "Royal Officials' Collecting Songs" (Chinese :王官采詩) is recorded in the Book of Han , and "Master Confucius Deletes Songs" (Chinese :孔子刪詩) refers to Confucius and his mention in the Records of the Grand Historian , where it says from originally some 3,000 songs and poems in a previously extant "Odes" that Confucius personally selected the "300" which he felt best conformed to traditional ritual propriety, thus producing the Classic of Poetry.
The Confucian school eventually came to consider the verses of the "Airs of the States" to have been collected in the course of activities of officers dispatched by the Zhou Dynasty court, whose duties included the field collection of the songs local to the territorial states of Zhou.This territory was roughly the Yellow River Plain, Shandong, southwestern Hebei, eastern Gansu, and the Han River region. Perhaps during the harvest. After the officials returned from their missions, the king was said to have observed them himself in an effort to understand the current condition of the common people. The well-being of the people was of special concern to the Zhou because of their ideological position that the right to rule was based on the benignity of the rulers to the people in accordance with the will of Heaven, and that this Heavenly Mandate would be withdrawn upon the failure of the ruling dynasty to ensure the prosperity of their subjects. The people's folksongs were deemed to be the best gauge of their feelings and conditions, and thus indicative of whether the nobility was ruling according to the mandate of Heaven or not, accordingly the songs were collected from the various regions, converted from their diverse regional dialects into standard literary language, and presented accompanied with music at the royal courts.
The Classic of Poetry historically has a major place in the Four Books and Five Classics, the canonical works associated with Confucianism.Some pre-Qin dynasty texts, such as the Analects and a recently excavated manuscript from 300 BC entitled "Confucius' Discussion of the Odes", mention Confucius' involvement with the Classic of Poetry but Han dynasty historian Sima Qian's Records of the Grand Historian was the first work to directly attribute the work to Confucius. Subsequent Confucian tradition held that the Shijing collection was edited by Confucius from a larger 3,000-piece collection to its traditional 305-piece form. This claim is believed to reflect an early Chinese tendency to relate all of the Five Classics in some way or another to Confucius, who by the 1st century BC had become the model of sages and was believed to have maintained a cultural connection to the early Zhou dynasty. This view is now generally discredited, as the Zuo zhuan records that the Classic of Poetry already existed in a definitive form when Confucius was just a young child.
In works attributed to him, Confucius comments upon the Classic of Poetry in such a way as to indicate that he holds it in great esteem. A story in the Analects recounts that Confucius' son Kong Li told the story: "The Master once stood by himself, and I hurried to seek teaching from him. He asked me, 'You've studied the Odes?' I answered, 'Not yet.' He replied, 'If you have not studied the Odes, then I have nothing to say.'"
According to Han tradition, the Poetry and other classics were targets of the burning of books in 213 BC under Qin Shi Huang, and the songs had to be reconstructed largely from memory in the subsequent Han period. However the discovery of pre-Qin copies showing the same variation as Han texts, as well as evidence of Qin patronage of the Poetry, have led modern scholars to doubt this account.
During the Han period there were three different versions of the Poetry which each belonged to different hermeneutic traditions.The Lu Poetry (魯詩 Lǔ shī), the Qi Poetry (齊詩 Qí shī) and the Han Poetry (韓詩 Hán shī) were officially recognized with chairs at the Imperial Academy during the reign of Emperor Wu of Han (156–87 BC). Until the later years of the Eastern Han period, the dominant version of the Poetry was the Lu Poetry, named after the state of Lu, and founded by Shen Pei, a student of a disciple of the Warring States period philosopher Xunzi.
The Mao Tradition of the Poetry (毛詩傳 Máo shī zhuàn), attributed to an obscure scholar named Máo Hēng (毛亨) who lived during the 2nd or 3rd centuries BC,was not officially recognized until the reign of Emperor Ping (1 BC to 6 AD). However, during the Eastern Han period, the Mao Poetry gradually became the primary version. Proponents of the Mao Poetry said that its text was descended from the first generation of Confucius' students, and as such should be the authoritative version. Xu Shen's influential dictionary Shuowen Jiezi , written in the 2nd century AD, quotes almost exclusively from the Mao Poetry. Finally, the renowned Eastern Han scholar Zheng Xuan used the Mao Poetry as the basis for his annotated edition of the Poetry. By the 5th century, the Lu, Qi and Han traditions had died out, leaving only the Mao Poetry, which has become the received text in use today. Only isolated fragments of the Lu text survive, among the remains of the Xiping Stone Classics. Zheng Xuan's edition of the Mao text became the imperially authorized text and commentary on the Poetry in 653 AD.
The Book of Odes has been a revered Confucian classic since the Han Dynasty, and has been studied and memorized by centuries of scholars in China.The individual songs of the Odes, though frequently on simple, rustic subjects, have traditionally been saddled with extensive, elaborate allegorical meanings that assigned moral or political meaning to the smallest details of each line. The popular songs were seen as good keys to understanding the troubles of the common people, and were often read as allegories; complaints against lovers were seen as complaints against faithless rulers, "if a maiden warns her lover not to be too rash... commentators promptly discover that the piece refers to a feudal noble whose brother had been plotting against him...".
The extensive allegorical traditions associated with the Odes were theorized by Herbert Giles to have begun in the Warring States period as a justification for Confucius' focus upon such a seemingly simple and ordinary collection of verses. –1162) first wrote his skepticism of them. European sinologists like Giles and Marcel Granet ignored these traditional interpretations in their analysis of the original meanings of the Odes. Granet, in his list of rules for properly reading the Odes, wrote that readers should "take no account of the standard interpretation", "reject in no uncertain terms the distinction drawn between songs evicting a good state of morals and songs attesting to perverted morality", and "[discard] all symbolic interpretations, and likewise any interpretation that supposes a refined technique on the part of the poets". These traditional allegories of politics and morality are no longer seriously followed by any modern readers in China or elsewhere.These elaborate, far-fetched interpretations seem to have gone completely unquestioned until the 12th century, when scholar Zheng Qiao (鄭樵, 1104
The Odes became an important and controversial force, influencing political, social and educational phenomena.During the struggle between Confucian, Legalist, and other schools of thought, the Confucians used the Shijing to bolster their viewpoint. On the Confucian side, the Shijing became a foundational text which informed and validated literature, education, and political affairs. The Legalists, on their side, attempted to suppress the Shijing by violence, after the Legalist philosophy was endorsed by the Qin Dynasty, prior to their final triumph over the neighboring states: the suppression of Confucian and other thought and literature after the Qin victories and the start of Burning of Books and Burying of Scholars era, starting in 213 BC, extended to attempt to prohibit the Shijing.
As the idea of allegorical expression grew, when kingdoms or feudal leaders wished to express or validate their own positions, they would sometimes couch the message within a poem, or by allusion. This practice became common among educated Chinese in their personal correspondences and spread to Japan and Korea as well.
Modern scholarship on the Classic of Poetry often focuses on doing linguistic reconstruction and research in Old Chinese by analyzing the rhyme schemes in the Odes, which show vast differences when read in modern Mandarin Chinese.Although preserving more Old Chinese syllable endings than Mandarin, Modern Cantonese and Min Nan are also quite different from the Old Chinese language represented in the Odes.
C.H. Wang refers to the account of King Wu's victory over the Shang dynasty in the "Major Court Hymns" as the "Weniad" (a name that parallels The Iliad ), seeing it as part of a greater narrative discourse in China that extols the virtues of wén (文 "literature, culture") over more military interests.
|group||char||group name||poem #s|
|01||周南||Odes of Zhou & South||001–011|
|02||召南||Odes of Shao & South||012–025|
|03||邶風||Odes of Bei||026–044|
|04||鄘風||Odes of Yong||045–054|
|05||衛風||Odes of Wei||055–064|
|06||王風||Odes of Wang||065–074|
|07||鄭風||Odes of Zheng||075–095|
|08||齊風||Odes of Qi||096–106|
|09||魏風||Odes of Wei||107–113|
|10||唐風||Odes of Tang||114–125|
|11||秦風||Odes of Qin||126–135|
|12||陳風||Odes of Chen||136–145|
|13||檜風||Odes of Kuai||146–149|
|14||曹風||Odes of Cao||150–153|
|15||豳風||Odes of Bin||154–160|
|group||char||group name||poem #s|
|01||鹿鳴 之什||Decade of Lu Ming||161–169|
|02||白華 之什||Decade of Baihua||170–174|
|03||彤弓 之什||Decade of Tong Gong||175–184|
|04||祈父 之什||Decade of Qi Fu||185–194|
|05||小旻 之什||Decade of Xiao Min||195–204|
|06||北山 之什||Decade of Bei Shan||205–214|
|07||桑扈 之什||Decade of Sang Hu||215–224|
|08||都人士 之什||Decade of Du Ren Shi||225–234|
|group||char||group name||poem #s|
|01||文王之什||Decade of Wen Wang||235–244|
|02||生民之什||Decade of Sheng Min||245–254|
|03||蕩之什||Decade of Dang||255–265|
|group||char||group name||poem #s|
|01||周頌||Sacrificial Odes of Zhou||266–296|
|01a||清廟之什||Decade of Qing Miao||266–275|
|01b||臣工之什||Decade of Chen Gong||276–285|
|01c||閔予小子之什||Decade of Min You Xiao Zi||286–296|
|02||魯頌||Praise Odes of Lu||297–300|
|03||商頌||Sacrificial Odes of Shang||301–305|
Note: alternative divisions may be topical or chronological (Legges): Song, Daya, Xiaoya, Guofeng
Chinese classic texts or canonical texts or simply dianji (典籍) refers to the Chinese texts which originated before the imperial unification by the Qin dynasty in 221 BC, particularly the "Four Books and Five Classics" of the Neo-Confucian tradition, themselves a customary abridgment of the "Thirteen Classics". All of these pre-Qin texts were written in classical Chinese. All three canons are collectively known as the classics.
The history of Chinese literature extends thousands of years, from the earliest recorded dynastic court archives to the mature vernacular fiction novels that arose during the Ming dynasty to entertain the masses of literate Chinese. The introduction of widespread woodblock printing during the Tang dynasty (618–907) and the invention of movable type printing by Bi Sheng (990–1051) during the Song dynasty (960–1279) rapidly spread written knowledge throughout China. In more modern times, the author Lu Xun (1881–1936) is considered an influential voice of baihua literature in China.
Chinese poetry is poetry written, spoken, or chanted in the Chinese language. While this last term comprises Classical Chinese, Standard Chinese, Mandarin Chinese, Yue Chinese, and other historical and vernacular forms of the language, its poetry generally falls into one of two primary types, Classical Chinese poetry and Modern Chinese poetry.
Classical Chinese poetry is traditional Chinese poetry written in Classical Chinese and typified by certain traditional forms, or modes; traditional genres; and connections with particular historical periods, such as the poetry of the Tang Dynasty. The existence of classical Chinese poetry is documented at least as early as the publication of the Classic of Poetry,. Various combinations of forms and genres have developed over the ages. Many or most of these poetic forms were developed by the end of the Tang Dynasty, in 907 CE.
Shi and shih are romanizations of the character 詩/诗, the Chinese word for all poetry generally and across all languages.
The Book of Documents or Classic of History, also known as the Shangshu, is one of the Five Classics of ancient Chinese literature. It is a collection of rhetorical prose attributed to figures of ancient China, and served as the foundation of Chinese political philosophy for over 2,000 years.
The Book of Rites, also known as the Liji, is a collection of texts describing the social forms, administration, and ceremonial rites of the Zhou dynasty as they were understood in the Warring States and the early Han periods. The Book of Rites, along with the Rites of Zhou (Zhōulǐ) and the Book of Etiquette and Rites (Yílǐ), which are together known as the "Three Li (Sānlǐ)," constitute the ritual (lǐ) section of the Five Classics which lay at the core of the traditional Confucian canon. As a core text of the Confucian canon, it is also known as the Classic of Rites or Lijing, which some scholars believe was the original title before it was changed by Dai Sheng.
The Chu Ci, variously translated as Verses of Chu or Songs of Chu, is an anthology of Chinese poetry traditionally attributed mainly to Qu Yuan and Song Yu from the Warring States period, though about half of the poems seem to have been composed several centuries later, during the Han dynasty. The traditional version of the Chu Ci contains 17 major sections, anthologized with its current contents by Wang Yi, a 2nd-century AD librarian who served under Emperor Shun of Han. The early Classical Chinese poetry is mainly known through the two anthologies, the Chu Ci and the Shi Jing.
The burning of books and burying of scholars, also known as burning the books and executing the ru scholars, refers to the supposed burning of texts in 213 BCE and live burial of 460 Confucian scholars in 212 BCE by the Chinese emperor Qin Shi Huang of the Qin dynasty. This was alleged to have destroyed philosophical treatises of the Hundred Schools of Thought, with the goal of strengthening the official Qin governing philosophy of Legalism.
In Chinese philology, the Old Texts refer to some versions of the Five Classics discovered during the Han Dynasty, written in archaic characters and supposedly produced before the burning of the books, as opposed to the Modern Texts or New Texts (今文經) in the new orthography.
The Four Books and Five Classics are the authoritative books of Confucianism in China written before 300 BC. The Four Books and Five Classics are the collective name of the Four Books and the Five Classics, and they are the most important classics of Chinese Confucianism.
The arts of China have varied throughout its ancient history, divided into periods by the ruling dynasties of China and changing technology, but still containing a high degree of continuity. Different forms of art have been influenced by great philosophers, teachers, religious figures and even political leaders. The arrival of Buddhism and modern Western influence produced especially large changes. Chinese art encompasses fine arts, folk arts and performance arts.
The Kaicheng Stone Classics (開成石經) or Tang Stone Classics are a group of twelve early Chinese classic works carved on the orders of Emperor Wenzong of the Tang dynasty in 833–837 as a reference document for scholars. The works recorded are:
Guan ju is the first poem from the ancient anthology Shi Jing, and is one of the best known poems in Chinese literature. It has been dated to the seventh century BC, making it also one of China's oldest poems, though not the oldest in the Shi Jing. The title of the poem comes from its first line, which evokes a scene of ospreys calling on a river islet. Fundamentally the poem is about finding a good and fair maiden as a match for a young noble.
The Thirteen Classics is a term for the group of thirteen classics of Confucian tradition that became the basis for the Imperial Examinations during the Song dynasty and have shaped much of East Asian culture and thought. It includes all of the Four Books and Five Classics but organizes them differently and includes the Classic of Filial Piety and Erya.
Classical Chinese poetry forms are poetry forms or modes which typify the traditional Chinese poems written in Literary Chinese or Classical Chinese. Classical Chinese poetry has various characteristic forms, some attested to as early as the publication of the Classic of Poetry, dating from a traditionally, and roughly, estimated time of around 10th–7th century BC. The term "forms" refers to various formal and technical aspects applied to poems: this includes such poetic characteristics as meter, rhythm, and other considerations such as vocabulary and style. These forms and modes are generally, but not invariably, independent of the Classical Chinese poetry genres. Many or most of these were developed by the time of the Tang Dynasty, and the use and development of Classical Chinese poetry and genres actively continued up until the May Fourth Movement, and still continues even today in the 21st century.
Han shi waizhuan, translated as Exoteric traditions of the Han version of the Songs, Illustrations of the Didactic Application of the Classic of Songs, or "The Outer Commentary to the Book of Songs by Master Han", is a book written in the Western Han dynasty, attributed to Han Ying. It is a collection of some 300 anecdotes and stories chosen to highlight the poems of the Shi jing.
Fu Buqi, also pronounced Mi Buqi, was a major disciple of Confucius. He was also known by his courtesy name Zijian. He was known as a capable governor and was also a writer.
The Mao Commentary is one of the four early traditions of commentary on the Classic of Poetry. The Mao Commentary is attributed to either Mao Chang 萇 or Mao Heng 亨. The "Yiwenzhi" of the Book of Han refers to the Mao Commentary under the title Maoshi guxun zhuan 毛詩故訓傳 as one of two works by Mao on the Classic of Poetry.
Chen Zhi is a Chinese scholar and researcher in classical Chinese Studies, the Vice President of Beijing Normal University-Hong Kong Baptist University United International College (UIC) and Director of the Jao Tsung-I Academy of Sinology (JAS) at Hong Kong Baptist University.
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