'Opinions of scholars are much divided as to the authorship of the Preface. Some ascribe it to Confucius; some to (his disciple) Dze-hsiâ, and some to the historiographers of the states. In the absence of clear testimony it is impossible to decide the point, but the notice about Wei Hung (first century) in the Literary Biographies of Han[1] would seem to make it clear that the Preface was
[1. The account is this: 'Hung became the disciple of Hsieh Man-khing, who was famous for his knowledge of Mâo's Shih; and he afterwards made the Preface to it, remarkable for the accuracy with which it gives the meaning of the pieces in the Fang and the Yâ, and which is now current in the world.']
his work. We must take into account, however, on the other hand, the statement of King Khang-khang, that the Preface existed as a separate document when Mâo appeared with his text, and that he broke it up, prefixing to each ode the portion belonging to it, The natural conclusion is, that the Preface had come down from a remote period, and that Hung merely added to it, and rounded it off. In accordance with this, scholars generally bold that the first sentences in the introductory notices formed the original Preface, which Mâo distributed, and that the following portions were subsequently added.
'This view may appear reasonable; but when we examine those first sentences themselves, we find that some of them do not agree with the obvious meaning of the odes to which they are prefixed, and give only rash and baseless expositions. Evidently, from the first, the Preface was made up of private speculations and conjectures on the subject-matter of the odes, and constituted a document by itself, separately appended to the text. Then on its first appearance there were current the explanations of the odes that were given in connexion with the texts of Lû, Khî, and Han Ying, so that readers could know that it was the work of later hands, and not give entire credit to it. But when Mâo no longer published the Preface as a separate document, but each ode appeared with the introductory notice as a portion of the text, this seemed to give it the authority of the text itself. Then after the other texts disappeared and Mâo's had the field to itself, this means of testing the accuracy of its prefatory notices no longer existed. They appeared as if they were the production of the poets themselves, and the odes seemed to be made from them as so many themes. Scholars handed down a faith in them from one to another, and no one ventured to express a doubt of their authority. The text was twisted and chiseled to bring it into accordance with them, and no one would undertake to say plainly that they were the work of the scholars of the Han dynasty.'
There is no western sinologist, I apprehend, who will not cordially concur with me in the principle of Kû Hsî that we must find the meaning of the poems in the poems themselves, instead of accepting the interpretation of them given by we know not whom, and to follow which would reduce many of them to absurd enigmas.
THE SHIH KING.
I. ODES OF THE TEMPLE AND THE ALTAR.
IT was stated in the Introduction, p. 278, that the poems in the fourth Part of the Shih are the only ones that are professedly religious; and there are some even of them, it will be seen, which have little claim on internal grounds to be so considered.
I commence with them my selections from the Shih for the Sacred Books of the Religions of the East. I will give them all, excepting the first two of the Praise Odes of Lû, the reason for omitting which will be found. when I come to that division of the Part.
The ancestral worship of the common people.