The Epyllium Telephi ( P. Oxy. 214): A Reappraisal

The aim of this paper is to analyze the Russian translation of Murasaki Shikibu's The Tale of Genji, focusing on mono no aware. Mono no aware has been regarded as the key concept of this literary classic, ever since it was first proposed by Motoori Norinaga.N.I. Konrad's Russian translation of the third chapter (Utsusemi) was done in 1924, prior to the English translation by Arthur Waley. However, thereafter Konrad translated only the first, second, and fourth chapters. The complete Russian translation was carried out by T.L. Sokolova-Deliusina, and was published in 1991-1993. It is this complete translation that forms the principal basis for our study.According to Norinaga, aware is originally an exclamation, and as a noun and an adjective verb, it expresses deep, heartfelt emotion, including not only sorrow but also joy and amusement. Moreover, mono no aware is the emotion of aware that is aroused when one intuits “the heart of mono - things”: Ohnishi Yoshinori defined aware as the aesthetic category that was formed under the influence of thoughts about the evanescence of life. Ivan Morris noted, “Aware is one of the many untranslatable words that are used to define Japanese aesthetics”: Mono no aware is known in English as “the pathos of things” (translated by Ivan Morris), or as “pity of things” (translated by Royall Tyler) .With regard to Russian translations of the story, Konrad, in his paper titled Murasaki Shikibu's novel, translated mono no aware as “chary veshchei” (lure of things) . He further explained that it was the Japanese aesthetic principle of the need to comprehend the “ocharovanie” (charm) that is inherent in various things. In the preface of the complete Russian translation of Genji, Sokolova-Deliusina translated the concept as “pechal'noe ocharovanie veshchei” (sorrowful charm of things), and wrote that it connected the attractive beauty of the material world with thoughts about its transience and fragility.It is commonly understood by both the Russian and English translators that mono no aware comprises elements of sadness, sorrow, and thoughts on evanescence. However, it could be said that Russian translators regard this concept as involving the element of “charm”.This was supplemented by Sokolova-Deliusina in her explanation that by sensing aware, the essence of things can be comprehended. Therefore, mono no aware is aspiration of the soul to attain the eternal sources of things, and its desire to capture their elusive meaning.For certain sections of the story, Sokolova-Deliusina translated aware or mono no aware as “sorrowful charm”, and “to comprehend the heart of things, their secret meanings”, all based on her above explanation of this concept. It is also worth taking into account that for the very same sections, none of the English translators of The Tale of Genji interpreted aware or mono no aware in the same manner as that of Sokolova-Deliusina.A book review of Sokolova-Deliusina's Russian translation of The Tale of Genji describes it as “unique in aesthetic value”. As we have examined, due to her profound understanding of mono no aware, such an evaluation is well deserved.

Reviewed by: Self-Portrait in Three Colors: Gregory of Nazianzus’s Epistolary Autobiography by Bradley L. Storin, and: Gregory of Nazianzus’s Letter Collection: The Complete Translation by Bradley L. Storin Gabrielle Thomas Bradley L. Storin Self-Portrait in Three Colors: Gregory of Nazianzus’s Epistolary Autobiography Christianity in Late Antiquity 6 Oakland, CA: University of California Press, 2019 Pp. ix + 276. $95.00. Bradley L. Storin Gregory of Nazianzus’s Letter Collection: The Complete Translation Christianity in Late Antiquity 7 Oakland, CA: University of California Press, 2019 Pp. xiii + 234. $95.00 (hardcover) / $34.95 (softcover). For such a central figure in Christian orthodoxy and late antique Christianity it is somewhat surprising that a complete English translation of the letter collection of Gregory of Nazianzus emerged as recently as 2019, especially since Gregory is the earliest known Greek writer to compile his own letter collection, consisting of at least 240 letters (c. 383–84). And yet this collection of translations is the first of its kind. The companion volume provides a sharp account of how to make sense of Gregory’s letters, guided by the central question: “What authorial identity or identities did Gregory craft in his letter collection?” (EA, 99; throughout the review EA designates Self-Portrait in Three Colors: Gregory of Nazianzus’s Epistolary Autobiography and TCT designates Gregory of Nazianzus’s Letter Collection: The Complete Translation). Read together, these books provide a carefully argued response to the question of Gregory’s identity(ies). They provide fresh insight into the man also known to theologians, classicists, and scholars of late antique Christianity as “the Theologian,” as well as into the craft of autobiographical letter-writing in late antiquity. Storin’s volumes are the culmination of over a decade of work, presented as an extensive development of earlier doctoral work. The thesis is persuasive: Gregory’s letter collection serves as a carefully crafted autobiography. This argument is grounded alongside hundreds of lines of autobiographical poetry similar in subject matter. Add to this Gregory’s own admission that his great nephew Nicobulus asked for these letters because the young man’s education involved “rhetoric, literature and epistolary composition” (EA, 29). The companion volume is a sophisticated engagement with the literary construction of identity(ies) around three themes or “colors” which blur into one another, presenting a self-portrait of a “man of eloquence” (Chapter Three), a “father of philosophers” (Chapter Four), and a “Basilist” (Chapter Five). These interwoven identities are, as Storin argues, an attempt by Gregory to restore his reputation and authority, somewhat damaged by the events surrounding his departure from his episcopal see in Constantinople in 381. By attending to Gregory’s rhetoric and the role it plays in “defining him with and against broader political, intellectual and ecclesiastical developments” (EA, 25), Storin’s methodology follows the scholarship of Susanna Elm and Neil McLynn, [End Page 662] which has become foundational over the past two decades. Through positioning Gregory alongside figures such as the classical autobiographer Libanius of Antioch who, like Gregory, speaks of stonings by opponents, sea storms, and bouts of illness, this methodology confirms further Elm’s earlier appraisal of Gregory as a man who “fashioned himself a life that embodied and presented authority, even power” (Susanna Elm, Sons of Hellenism, Fathers of the Church: Emperor Julian, Gregory of Nazianzus, and the Vision of Rome [Berkeley: University of California Press, 2012], 9). This is an important corrective to prior presentations of Gregory as one who is “a sensitive man who entered the arena of world affairs” (Georg Misch, A History of Autobiography in Antiquity [London: Routledge, 1950], 609). The companion volume is crafted as carefully as the letter collection, since before exploring Gregory’s three-color portrait of himself, Storin devotes almost a quarter of the book to analyzing “the Architecture of the Letter Collection” (Chapter Two). He demonstrates the deficiency in what has become the standard numbering by exploring the manuscripts which form six families, dating between the tenth and fourteenth centuries. Unlike the standard ordering, which is based upon ambiguous chronology and does not display the original structure of the collection, the manuscripts show little concern for chronology and instead form a coherence...

Reviewed by: Homer in Print: A Catalogue of the Bibliotheca Homerica Langiana at the University of Chicago Library ed. by Glenn W. Most and Alice Schreyer Fred Schreiber Glenn W. Most and Alice Schreyer (eds.). Homer in Print: A Catalogue of the Bibliotheca Homerica Langiana at the University of Chicago Library. Chicago: The University of Chicago Press, 2014. Pp. viii, 339. $55.00. ISBN 978–0-94305–641–8. As stated in its preface, this elegantly produced volume is the result of collaboration between the worlds of private collecting, philanthropy, research libraries, and scholarship. Its genesis was the Homer library (“Bibliotheca Homerica Langiana” [BHL]) formed by the bibliophile Michael C. Lang who, in 2006, presented his collection to the University of Chicago to stimulate research, discovery, and knowledge not only of Homer, but also of the bibliographic sciences. Far from being a mere list of editions, which the word “catalogue” might lead some to expect, the volume contains considerably more detailed information than names of authors, titles, printers, and dates; each of the 175 entries is accompanied by informative commentaries, or brief essays, whose focus, as the editors state, is “on the transmission of the Homeric text and the printing, publishing, and editorial history and critical reception of the editions included rather than on the individual copies.” Thus, the work traces the transmission [End Page 300] and reception of the Iliad and Odyssey in printed form from the editio princeps of 1488 to the first decade of the twenty-first century. The 175 entries are grouped into five main sections: A: Greek Editions; B: English Translations (by far the largest section, comprising 109 entries, including “Retellings for Children”); C: Translations in Other Languages; D: Scholarly Works; E: Illustrations, Facsimiles, & Manuscripts. In section A, all significant Greek editions are included. This reviewer, however, found it puzzling that among the bibliographical references following the commentaries on the editions, the standard printers’ bibliographies are strangely omitted: for example, A. A. Renouard for the Aldine and Estienne editions (A2, A6, A14, A16) and A. Willems for Elzevier (A17). Section D deals with Homeric scholarship from the publication in 1521 of Didymus’ scholia (D1) and culminates in Milman Parry’s revolutionary 1928 Paris dissertation on traditional Homeric epithets that strengthened belief in the oral nature of the poems (D14). In addition to the main entries there are three longer essays. The first consists of an introductory account by Lang on the genesis and formation of his collection, “The Architecture of Accumulation: A Book Collector’s Apology,” including an enlightening section on English translations of Homer. Lang states that although the Homeric poems have been translated into virtually all Western and several Eastern languages, more have appeared in English than any other: at least 105 complete English translations have appeared since Chapman’s. (As a side note Lang points out that over these last five centuries, “there is as yet no complete translation by a woman of the Iliad or Odyssey in English.”) The other two essays, both dealing with aspects of Homer’s Nachleben, are found in appendix; in the first, titled “A Shaggy-dog Story: The Life, Death, and Afterlives of Odysseus’s Trusty Dog Argus,” the author, Glenn W. Most, has chosen this touching little episode of the Odyssey to illustrate the vaster history of the reception of Homer in the works of editors and translators through the centuries. The second, “Quarreling over Homer in France and England, 1711–1715,” is an account by David Wray of the battle waged in intellectual circles during the second decade of the eighteenth century known as the Querelle d’Homère, a revival of the culture war known as the “Quarrel of the Ancients and the Moderns.” This volume elegantly fulfills both the editors’ and Lang’s stated objectives by contributing the first in-depth study of “Homer in print.” Fred Schreiber E. K. Schreiber Rare Books Copyright © 2015 The Classical Association of the Atlantic States, Inc.

Reviewed by: The Mozi: A Complete Translation Hui-chieh Loy The Mozi: A Complete Translation. Translated and annotated by Ian Johnston. New York: Columbia University Press, 2010. Pp. lxxxviii + 944. Hardcover $85.00. As Ian Johnston observes in the introduction to his new The Mozi: A Complete Translation, the Mozi is "unquestionably one of the most important books in the history of Chinese philosophy" (p. xvii). Indeed, the text is our chief source for the intellectual productions of Mozi (fl. late fifth century to early fourth century B.C.E.) and members of the school he founded (the "Mohists"). Apart from its inherent philosophical interest to contemporary scholars of Chinese philosophy, the text is indispensable to the study of the history of Chinese thought, as Mohist ideas exerted significant influence over the broader intellectual scene up to the early days of Empire. Yet, as Johnston points out, it has also been "a sadly neglected work" (p. xviii). Consider, for instance, the metric of available translations in English: until Johnston's attempt, there has not been a single complete edition of the Mozi in English (the last one in a Western language was that by Alfred Forke in German). This state of affairs is perhaps only to be expected considering certain special features of the corpus. The text is notoriously corrupt in places—a consequence of its relative neglect within the Chinese intellectual tradition until later imperial times. There is also the disparate nature of the contents of the corpus: the three main divisions in terms of content are: (1) the ethical and political chapters (chapters 1-39 and 46-51), (2) the dialectical chapters (40-45), and (3) the technical chapters on defense (52-71). Given that the three divisions are rather different in the type of specialist knowledge [End Page 308] required for handling them effectively, it is perhaps only to be expected that few would attempt a complete translation. And so the current commonly used English version of the dialectical chapters is Angus C. Graham's Later Mohist Logic, Ethics and Science (1978), while that for the defense chapters is the unpublished 1980 Ph.D. Dissertation "The City Under Siege" (1980) by Robin Yates. The remaining chapters were last given a complete treatment in Y. P. Mei, The Ethical and Political Work of Motse (1927), though the most widely used English versions today are probably those by Burton Watson (1963) and P. J. Ivanhoe (2001), both of whom offer but parts of the "core" chapters (chapters 8-86). With the preamble above in mind, we can thus appreciate the sheer scope and ambition of what Ian Johnston is aiming to achieve by giving us an English translation of the complete Mozi corpus. But not just the translation: the Chinese text is provided on facing pages, with generous footnotes for both original and translation. In addition, there is also a substantial introduction that discusses the historical sources on Mozi the man, the Mohist school, the nature and divisions of the Mozi corpus, a synoptic overview of the doctrines in the "core" chapters, Mohist responses to other pre-Han thinkers, pre-Han responses to Mohism (especially Mencius, Xunzi, Zhuangzi, and Hanfeizi, and, more briefly, the Lüshi chunqiu and Huainanzi), a complete translation of Han Yu's (C.E. 768-824) essay "On Reading Mozi," and a brief note on the existing translations (both in modern Chinese and Western Languages) and the translator's aim to "attain that elusive balance between accuracy and readability" (p. lxxx). Given the brevity of the introduction relative to the scope of the topics covered, it is only to be expected that there will be points that invite dissent from fellow students of the Mozi. Nonetheless, the introduction should prove useful to readers looking for information on the larger intellectual-historical background and the issues regarding the nature of the text. The translation itself is readable and largely dependable. Most of the passages that are harder to make sense of (due to textual corruption or lack of knowledge about Mohist technical usages) tend to be in the dialectical and defense divisions of the text—and it is to Johnston's credit that he has included...

Heinrich Heine, Ludwig Borne: A Memorial. Translated with a commentary and an introduction by Jeffrey L. Sammons. Rochester: Camden House, 2006. xl + 137 pp. Jeffrey L. Sammons, Heinrich Heine: Alternative Perspectives 1985-2005 .Wurzburg: Konigshausen & Neumann, 2006. 301 pp. The two titles by and on Heine, the one edited and the other authored by Jeffrey Sammons, represent cornerstones of a distinguished career of an outstanding scholar. If Sammons is the dean of American Heine studies, his longstanding loyalty as stalwart treasurer of the North American Heine Society indicates more than just commitment beyond the call of duty. It also has symbolic significance as an engagement that goes well beyond the academic customs and conventions of the guild. A treasurer, indeed, Sammons has kept watch over a treasure whose recognition has gained new critical attention during the last four decades coinciding with the period of Sammons's own critical work. Sammons has assumed a stanare central to the present scene of international Heine research. Without him, the current stage of Heine research is difficult to imagine. And yet he has managed to remain an outsider, or so he likes to claim, thus true to the critical but also liberating ethos of Heine's own approach. With the first complete English translation of Heine's controversial Borne book Sammons makes a text available that poses a formidable challenge scholarship has yet to recognize in its fuller implications. With this translation, Heine's work is now completely translated into English. Instructively contextualizing what was likely Heine's oddest literary adventure - it led to the greatest estrangement from his readers, which Heine, however, never really understood, to the challenge of a duel and, as a consequence, to Heine's committing to his wife in marriage - the introduction highlights the complicated and multifaceted agenda that informs the composition of this text.The translation is precise and Sammons does a superb job in reflecting the tone and diction of the original. The translation is also aptly annotated, to the point, and succinct. As simple and straightforward as the text often pretends to be, Heine's Borne book is one of his most intricate and complex literary performance acts as it employs the figure and character of Borne in a complicated play of self-clarification and mystification. The consistently sober and clearly worded translation serves the challenge well, rendering Heine's bravura performance, wildly imaginative, brilliant, yet often subtle in its stylistic effects (xl) into an English that translucently reflects the intricate structure of Heine's most dramatic act of self-staging behind the surface of blunt simplicity. Sammons renders the text's highly dramatic performance with exacting precision. Heine artfully builds up the semblance of a straightforward narrative only to twist and expose it at every turn. Heine has the tension of his narrative build up on the basis of a style that is at the same time both seemingly direct and mischievously complex. Sammons does full justice to Heine's use of underhanded irony and its linking of critique and self-critique. Sammons's translation reproduces this sophisticated play in sovereign manner, congenially rendering Heine's act of performance with the ironic suspense that is key to Heine's literary prose. With his translation, Sammons has extended an invitation to return to a central scene in Heine's writing that holds important keys for a critical understanding. In Ludwig Borne: A Memorial, Heine weaves an intricately wrought web of cultural, political, religious, and literary motives that highlights the constitutive function of their mutual interdependence. With this constellatory effect of interweaving seemingly disparate moments and movements, Heine articulates a position that argues for the dynamic coherence of the poetical-political and ethicopoetical link that demands a rethinking of the traditional distinction between aesthetics, politics, and ethics and suggests a constitutive bond that Heine however reimagines as profoundly different from conventional aesthetics. …

This thesis investigates the English translations and adaptations of the sixteenth century classic Chinese novel Jin Ping Mei. Acclaimed the ‘No.1 Marvellous Book’ of the Ming dynasty, Jin Ping Mei was banned soon after its appearance, due to the inclusion of graphically explicit sexual descriptions. So far there have been nearly a dozen English adaptations and translations of the novel. Working within the framework of Descriptive Translation Studies, this thesis provides a translational history of Jin Ping Mei in English, supported by various paratexts, including book covers, reviews, and archival materials. It also conducts textual comparisons to uncover the translation norms at work in each of the only two complete translations, namely The Golden Lotus by Clement Egerton and The Plum in the Golden Vase by David Roy, respectively. The notions of agency, habitus and capital are introduced for the examination of the transference of linguistic, literary and cultural aspects of the two translations. The project is the first systematic research effort on the English Translations of Jin Ping Mei. Given its pioneering status and interdisciplinary nature, the data, method and findings of this thesis will potentially enrich the fields of Translation Studies, Comparative Literature and Chinese Studies.

The five volumes of a complete manuscript translation of Lucian held by the National Library of Scotland, Edinburgh (shelfmark Acc. 7834) have received no previous scholarly attention. The translator, describing himself as an English merchant resident at Naples, explains in his Preface dated 1779 that, although undertaken for amusement, his work might have been published but for an ‘elegant’ English translation currently being prepared by a London press: no doubt Thomas Francklin’s version of 1780. This was unlucky, since Francklin’s ponderous Lucian was the first to appear in anything like complete form since 1711. This contribution introduces a sample consisting of the Lucianic dialogue usually now titled in English ‘Menippus or The Descent into Hades’.

Tao Hua Yuan Ji, as a representative prose of ancient Jiangxi literature, its English translation has attracted much attention from Chinese academia. There are single translation version research and comparative studies of multiple versions all with different perspectives, but little attention is paid to the version of American Sinologist Hightower. The rich expressions of four-character structures is one of the noticeable features of the original text of Tao Hua Yuan Ji, but at present, there lacks study of its English translation, especially in-depth cognitive analysis. Therefore, starting from the Embodied-Cognitive Linguistics, guided by its kernel principle “Reality-Cognition-language”, this paper explores the choices of Hightower’s translation of four-character structures from the three levels of language, cognition and reality, and analyzes the translation-induced cognitive processes and their pragmatic effects when the rendition takes place on different levels. It is found that among the 33 four-character structures in the original text, Hightower chose 23 on the level of language, mainly using complete literal translation and the method of combining literal and liberal translation, and 10 on the levels of cognition and reality, adopting complete liberal translation and contextual liberal translation. Hightower’s three-level choices of the translation of the four-character structures in Tao Hua Yuan Ji reflects the cognitive bases of embodied-cognition, namely universality, distinctness and deficiency.

This publication, a translation of two ‘half volumes’ published in Stuttgart and Vienna in 1910 and 1922 respectively, fulfils the goal of making Schenker's principal theoretical work accessible in English. Volume I of his Neue musikalischen Theorien und Phantasien, the Harmonielehre of 1906, appeared in an English translation by Elisabeth Mann Borgese in 1954; volume III, Der freie Satz of 1935, was Englished by Ernst Oster and appeared in 1979. In the preface to the book under review, John Rothgeb remarks that Kontrapunkt is “published here for the first time in English translation.” While this is the first complete translation, portions of Kontrapunkt were “translated and adapted for class use” in the University of Edinburgh by John Petrie Dunn in a series of Handbooks “printed by J. and A. L. Petrie Dunn on the Opalograph Duplicator” in the 1920s, a circumstance of which the present translators seem unaware.

In the doctrinal Sufi literature, the Kitāb al-ibrīz is a work that has no equivalent. It records the answers of Shaykh ʿAbd al-ʿAzīz al-Dabbāgh, described as illiterate, to the many questions posed to him by one of the great Moroccan scientists of his time, Aḥmad b. al-Mubārak al-Sijilmāsī al-Lamaṭī (1679–1743), who became his disciple to gather knowledge he had not found anywhere else. The scope of the questions addressed, and the singularity of the answers given furnish this book its often enigmatic and singular character. In spite of a partial translation in French (Paroles d'or, by Zakia Zouanat, Paris, Éditions du Relié, 2001) and a complete translation in English (Pure Gold from the Words of Sayyid ʿAbd al-ʿAzīz al-Dabbāgh, by J. O'Kane and B. Radtke, Leiden, Brill, 2007), this book did not reveal all the facets of its singularity. We are particularly interested in the role and place of the Prophet in the spiritual education of this master, in order to understand how spiritual mastery is renewed while remaining inscribed in the tradition of classical Sufism.

Introduction/BackgroundAdvances in artificial intelligence (AI) can greatly enhance clinical decision making. However, it is crucial for Clinical Decision Support Systems (CDSS) integrating AI to ensure high usability, and transparency in...

Despite concerns such as allergic dermatitis and bans recommended by health authorities, latex gloves are used by dental professionals in many countries. There are published reports of the prevalence of latex allergy in health professionals including dental professionals; however, no systematic review and meta-analysis is available. To determine the prevalence of latex allergy in dental professionals. Two researchers independently searched articles using appropriate keyword combinations in three search engines; PubMed, Cochrane Library, and Google Scholar for observational studies on latex allergy in dental professionals reported in English or where complete translations in English were included. Percentage prevalence of latex allergy was the variable of interest. The risk of bias was assessed using the Hoy et al. (2012) tool and publication bias using a funnel plot. From 435 possible sources, a total of 14 studies were included in the review and meta-analysis. The prevalence of latex allergy, based on 6302 participants was 10.37% (95% CI: 7.31 to 13.88). Heterogeneity (I2) was high (94.13%); hence, REM was used. There was moderate risk of bias across studies and minimal publication bias. GRADE analysis indicated that the evidence was uncertain. The prevalence of latex allergy in dental professionals is about 10.37%. Evidence is of low quality due to high heterogeneity.

Suetonius’ record in English translation is an extensive as well as a continuing one, but existing surveys can be augmented. The present contribution provides a sample of an anonymous manuscript version dating to 1725, within an era in which complete translations were being published with some regularity. The sole known exemplar of this one, Bodleian MS Eng. hist. f. 12, in 208 pages, was purchased by the Library in 1963, and has received no more than cursory attention since. It contains English versions of the first three lives (Julius Caesar, Caesar Augustus, Tiberius) and the greater part of the fourth (Caligula). This contribution provides a transcription of the last as a sample.

THERE SEEMS to be an impression, current at least among general readers of books about Zen, if not among scholars of Chinese and Japanese, that a great many Zen texts have been translated into English and other European languages, certainly a sufficient number to warrant Western writers speaking with authority on Zen even when they are unable to handle primary source material. Actually, however, considering the countless volumes of Chinese and Japanese Zen writings existing today in their respective languages, the field of Zen literature still lies almost untouched by the translator's hand. A great deal of this field is not worth tilling, to be sure. But such literary works as are landmarks in the historical development of this important school of Buddhism, a development that extended over a period of six hundred years in China and, with much less vigor and originality, for another six hundred years in Japan, should have something of interest to offer to historians of philosophy and religion, if to no others. Though the problems involved in translating Zen texts are many and complex, they are problems that offer a challenge to the pioneer spirit looking for new frontiers. The following bibliography lists the published English, French, and German translations of Chinese and Japanese Zen texts known to the compiler. No attempt has been made, however, to include in it either the short passages from Zen texts with which the English works of D. T. Suzuki' teem or those in other books on Zen. Three major works are to be found among the nineteen titles listed. The only complete translation of any one of these that has so far appeared is the English translation of the Yiianb (1279-1368) version of The Sixth Patriarch's Suztra (II B). Of the other two major texts (X and XII), the former is represented only by two English translations of the same short excerpt, the latter by English translations of two excerpts and a German translation of the first third of the text. Of the eight minor works listed, there are complete translations of four: one French (IV), three English (VII, VIII, and XIV), and one German (XIV). There are complete English translations of three of the six short works (V, VI, and XV) and complete German trans-

The Chin-ssu lu 3 is one of the most important texts in the Neo-Confucian tradition. It is an anthology composed of sayings selected from four great Confucians of the early Sung dynasty (9601279): Chou Tun-i MIRE ,' Ch'eng Hao 4j 2 Ch'eng I A ,3 and Chang Tsai Wi .4 It was compiled by Chu Hsi -A ' and Lu Tsu-ch'ien HiFaIM 6 in the summer of 1175, and in it one finds the essential doctrines of what came to be called the Ch'eng-Chu school-the school that dominated Chinese thought for over 700 years. This paper is an analysis of the meaning of the title of this important Neo-Confucian text. A number of well-known translators have had occasion to translate and comment on the title of this work. And several years ago, Professor Wing-tsit Chan produced the first English translation of the entire work, along with several chapters concerning the composition and history of the text.7 His work still stands as the only English translation available. Many fine scholars have made important contributions to our understanding of the Chin-ssu lu.8 Here I shall present a selection of the most important Western-language translations of the title and describe the reasoning behind each translator's interpretation. I shall then offer a new interpretation of the title's meaning and a new translation of the title. ' Chou Tun-i (1017-1073), was especially noted for his metaphysical treatise entitled ;kUIER T'ai-chi t'u-shuo Explanation of the Diagram of the Supreme Ultimate. The opening line of this work is the first quote in the Chinssu lu. For a concise discussion of his life and thought, see J. Percy Bruce, Chu Hsi and His Masters (London: Probsthain, 1923), pp. 17-30. For his biography, see Sung-shih IT (SPPY), 427.2a-3a. 2 Ch'eng Hao (1032-1085). For a detailed study of his thought, see A. C. Graham, Two Chinese Philosophers: Ch'eng Ming-tao and Ch'eng I-ch'uan (London: Lund Humphries, 1958), pp. 95-131. For his biography, see Sungshih, 427.3a-5b. For a brief account of both brothers, see Bruce, pp. 41-49. 3 Ch'eng 1 (1033-1108). Younger brother of Ming-tao. In the Chin-ssu lu Chu Hsi quotes him more often than any other thinker (fully twice as often as his brother, the next most-often quoted). For a study of his thought see Graham, pp. 3-91. For his biography, see Sung-shih, 427.5b-8b. 4 Chang Tsai (1020-1077). An uncle of the two Ch'eng brothers. For a recent study of his thought, see Ira E. Kasoff, The Thought of Chang Tsai (New York: Cambridge University Press, 1984). For his biography, see Sung-shih, 427.8b-10a. 5 Chu Hsi (1130-1200). For a recent collection of essays on his thought and influence, see Wing-tsit Chan, ed., Chu Hsi and Neo-Confucianism (Honolulu: University of Hawaii Press, 1986). For an outline of his life, see Bruce, pp. 56-96. For his biography, see Sung-shih, 429.1 aI1 b. 6 Lu Tsu-ch'ien (1137-1181). For a brief discussion of his role in the compilation of the Chin-ssu lu, see Wing-tsit Chan, trans., Reflections on Things at Hand (New York: Columbia University Press, 1967), pp. 325-26. For his biography, see Sung-shih, 434.1 b-3a. See the preceding note. 8 A recent contribution of Japanese scholarship on this topic is a complete translation with prefaces and an index to phrases. See Ichikawa Yasuji ?fi)IWJ , Kinshi roku A ZPA, Vol. 37 of Shin shaku Kambun Taikei WrCC*Ak (Tokyo: Meiji Shoin, 1975). This volume contains a brief discussion of the origin and meaning of the title of the work (p. 9) and offers an interpretation very similar to that of Wing-tsit Chan's.