Confucius not only said interesting things, he sang them and accompanied himself on a kind of zither. The Smithsonian Institution’s Arthur M. Sackler Gallery has frequent shows of musical instruments from Confucius’ time, 2,500 years ago. A collection of his lyrics (there are no melodies preserved)  is one of the first pieces [...]]]>

Playing a traditional zither

Confucius not only said interesting things, he sang them and accompanied himself on a kind of zither. The Smithsonian Institution’s Arthur M. Sackler Gallery has frequent shows of musical instruments from Confucius’ time, 2,500 years ago. A collection of his lyrics (there are no melodies preserved)  is one of the first pieces of Chinese literature handed down through the centuries.

“It is said that Confucius accompanied himself on a ‘qin’ while singing the odes of the Shi Jing, or the ‘Classic of Poetry,’” says cellist Yo-Yo Ma in a guide to the exhibit. “We don’t know what Confucius’ qin may have looked like, but in popular accounts of his life, the image of the philosopher-musician became firmly established.” The qin is a kind of zither. Today’s Chinese musicians still use one kind. Ma is an American of Chinese ancestry, one of today’s leading cellists playing classical western music.

Jenny F. So, the Sackler’s curator of ancient Chinese art, said in an interview that some of the “odes” were just folk songs. Confucius reportedly made a practice of dancing with his disciples every day. In his time, music was considered of great social significance, linking rulers to subjects, parents to children. “It is by poetry that one’s mind is aroused; it is by ceremony that one’s character is regulated; it is by music that one becomes accomplished,” he said.

Most of the instruments on display come from a tomb of the Marquis Yi, found by Chinese soldiers in 1977 when they were leveling a hill as a site for a factory. The instruments are borrowed from a museum in Hubei, China. So said this is the first time they have been displayed in a musical context.

Confucius had definite ideas about what music ought to be. “Get rid of the tunes of Zheng,” he is quoted as saying. “The tunes of Zheng are lascivious.” The Zheng area lies just to the south of Lu, Confucius’ home state. A later chronicler, who So says may have been using his imagination some, told of a Chinese king who was fond of licentious music. “He assembled a large company of musicians and actors at the Shaqiu garden,” says the account, “filling a pond with wine and hanging up meats to make a forest. He caused men and women to disrobe and pursue each other through this scenery, as part of a drinking feast lasting long into the night.”

A costumed musician, Mei Min Su of the local Chinese Music Society, played more recent Chinese music for visitors before the official opening, on a zither like one from Confucius’ time. The marquis apparently had two sets of musicians: one for public ceremonials, which emphasized percussion instruments, and a smaller, more intimate one with strings. Chinese authorities considered his ceremonial set of 65 huge bronze bells too precious to leave the country. Inscriptions on them identify the notes they produce on the Chinese five-tone scale. So far as scholars can find, it took nearly another thousand years before actual tunes were written out, Su said. In one chamber of the tomb archaeologists found an elaborately lacquered double coffin with the body of a middle-aged man, presumably the marquis. Eight smaller coffins contained the skeletons of eight young women.

According to the 2nd century BC biography written by Sima Qian, Sun Tzu was born in Qi during the Spring and Autumn Period of China (722–481 BC), and became a heroic general for the king of Wu, Helü.  Historians place the writing of the [...]]]>

Excerpted from The Art of War by Sun Tzu - Special Edition

According to the 2nd century BC biography written by Sima Qian, Sun Tzu was born in Qi during the Spring and Autumn Period of China (722–481 BC), and became a heroic general for the king of Wu, Helü.  Historians place the writing of the text in the Warring States Period (476–221 BC), based on its description of warfare. The period was a time of constant conflict between seven nations (Zhao, Qi, Qin, Chu, Han, Wei and Yan) seeking to control all of China.

It is said that the king of Wu tested Sun Tzu’s skills in military tactics by commanding him to train several hundred concubines into soldiers. Sun Tzu divided them into two companies, and placed one of the King’s favorite concubines at the head of each. He then bade them all take spears in their hands, and addressed them thus: “I presume you know the difference between front and back, right hand and left hand?” The girls replied: Yes. Sun Tzu went on: “When I say “Eyes front,” you must look straight ahead. When I say “Left turn,” you must face towards your left hand.

When I say “Right turn,” you must face towards your right hand. When I say “About turn,” you must face right round towards your back.” Again the girls assented. The words of command having been thus explained, he set up the halberds and battle-axes in order to begin the drill. Then, to the sound of drums, he gave the order “Right turn.” But the girls only burst out laughing. Sun Tzu said: “If words of command are not clear and distinct, if orders are not thoroughly understood, then the general is to blame.” So he started drilling them again, and this time gave the order “Left turn,” whereupon the girls once more burst into fits of laughter. Sun Tzu: “If words of command are not clear and distinct, if orders are not thoroughly understood, the general is to blame. But if his orders ARE clear, and the soldiers nevertheless disobey, then it is the fault of their officers.” So saying, he ordered the leaders of the two companies to be beheaded.

Now the king of Wu was watching the scene from the top of a raised pavilion; and when he saw that his favorite concubines were about to be executed, he was greatly alarmed and hurriedly sent down the following message: “We are now quite satisfied as to our general’s ability to handle troops. If We are bereft of these two concubines, our meat and drink will lose their savor. It is our wish that they shall not be beheaded.” Sun Tzu replied: “Having once received His Majesty’s commission to be the general of his forces, there are certain commands of His Majesty which, acting in that capacity, I am unable to accept.”

Accordingly, he had the two leaders beheaded, and straightway installed the pair next in order as leaders in their place. When this had been done, the drum was sounded for the drill once more; and the girls went through all the evolutions, turning to the right or to the left, marching ahead or wheeling back, kneeling or standing, with perfect accuracy and precision, not venturing to utter a sound. Then Sun Tzu sent a messenger to the King saying: “Your soldiers, Sire, are now properly drilled and disciplined, and ready for your majesty’s inspection. They can be put to any use that their sovereign may desire; bid them go through fire and water, and they will not disobey.”

But the King replied: “Let our general cease drilling and return to camp. As for us, We have no wish to come down and inspect the troops.” Thereupon Sun Tzu said: “The King is only fond of words, and cannot translate them into deeds.” After that, Ho Lu saw that Sun Tzu was one who knew how to handle an army, and finally appointed him general.

In the early 1970s, scholars uncovered a collection of ancient texts written on unusually well-preserved bamboo slips. Among them were Sun Tzu’s The Art of War and Sun Bin’s Military Methods. Although Han dynasty bibliographies noted the latter publication as extant and written by a descendant of Sun Tzu, it has since been lost. Sun Bin’s treatise is the only known additional text from the ancient period bearing a close association with Sun Tzu.

Translations can be a tricky thing. Especially if you are translating the oldest book on military strategy still in existence.

Lionel Giles is famous for his translation of The Art of War, as are James Clavell and Samuel B. Griffth. Still, many scholars despair of ever having a truly accurate translation of any of the [...]]]>

ISBN: 1934255122

Translations can be a tricky thing. Especially if you are translating the oldest book on military strategy still in existence.

Lionel Giles is famous for his translation of The Art of War, as are James Clavell and Samuel B. Griffth. Still, many scholars despair of ever having a truly accurate translation of any of the historical Chinese texts, due to the changing nature of language patterns over the centuries, which complicate translation and transliteration.

In this article, the author explores some various nuances that have been lost in many of the accepted translations of The Art of War, (excerpts from The Art of War by Sun Tzu – Special Edition):

The title given to the text has been translated into English as the Art of War. Looking at the individual words or ideograms we see a much more complicated meaning of the original title then the English title suggests. The ideogram for war as it is used in the title can also be translated into the English words: Combat, Maneuver, Weapon, and Conflict.

The meaning of conflict from the western viewpoint has negative connotations. Conflict can also though be a good thing. If I have the choice of going to a party or out with some friends then I am in conflict. Conflict in ideas’ leads to growth and change. We in the West tend to separate the negative and positive types of conflict into two meanings on subjective criteria based on the emotive social misconception that conflict is bad therefor good conflict is something else. Both types of conflict negative and positive are represented in the Chinese definition of conflict as defined in the text title, leading to different interpretations than one in the West would initially expect.

This difference in the Western definition of conflict can be summed up by Cognitive Dissonance Theory, which states that when we are psychologically aroused by a new perception that conflicts with previously stored ideas or does not fit into a preexisting “World View” then the individual will alter their perception and sometimes alter it to incorporate the new perception into their store of knowledge.

This process of comparing previously stored knowledge is influenced by our culture. The process of socialization where parents and society instill cultural values to their children is how a culture continues through the generations but what if these values or knowledge are a matter of perspective? If you are raised to believe a pink pixie created the world and everyone in the culture agrees, chances are that without outside influence you will believe the same thing.

Also the different connotations of words can lead to break away words with different connotations and meanings. In the case of conflict in the West we may say “I am making a decision, I’m not in conflict” but they are the same thing. When dealing with another culture we have to be aware of the full extent and meaning of the word and not just its translation.

Spiritual values can also be incorporated into the translated word. Chinese ideograms are often made up of sub components e.g. the ideogram for to listen includes the ideograms for hearing and also heart. In the Western translation this aspect of heart has been left out. This leads to the argument translation verses transliteration. This is what has happened with The Art of War as with all East- West translation to varying degrees. (Excerpt from Dean McNichol)    Read More of This Article

The Art of War by Sun Tzu – Large Print Edition contains the complete English translation by Lionel Giles in large, easy to read print.

The cover image depicts the bamboo scroll containing the teachings of Sun Tzu, which was discovered by archaeologists in the 1970s.

Leaders as diverse as Mao Zedong and General Douglas MacArthur [...]]]>

ISBN 1934255157

The Art of War by Sun Tzu – Large Print Edition contains the complete English translation by Lionel Giles in large, easy to read print.

The cover image depicts the bamboo scroll containing the teachings of Sun Tzu, which was discovered by archaeologists in the 1970s.

Leaders as diverse as Mao Zedong and General Douglas MacArthur have claimed to have taken inspiration from its teachings. As part of the Seven Military Classics of ancient China, The Art of War has become the most influential book on military tactics and strategy in history.

Even today, legal scholars, business executives and philosophy students still study The Art of War, taking inspiration from the teachings of the legendary Chinese general, Sun Tzu.

Lionel Giles (1875 – 1958) was a Victorian scholar, translator and the son of British diplomat and sinologist, Herbert Giles. Lionel Giles served as Keeper of the Department of Oriental Manuscripts and Printed Books, as well as Assistant Curator at the British Museum.

His 1910 translation of  The Art of War succeeded an earlier attempt by a [...]]]>

Lionel Giles (1875 – 1958) was a Victorian scholar, translator and the son of British diplomat and sinologist, Herbert Giles. Lionel Giles served as Keeper of the Department of Oriental Manuscripts and Printed Books, as well as Assistant Curator at the British Museum.

His 1910 translation of  The Art of War succeeded an earlier attempt by a British officer named E.F. Calthrop in 1905. Publicly refuting large portions of Calthrop’s work, Giles writes in his introduction:

It is not merely a question of downright blunders, from which none can hope to be wholly exempt. Omissions were frequent; hard passages were willfully distorted or slurred over. Such offenses are less pardonable. They would not be tolerated in any edition of a Latin or Greek classic, and a similar standard of honesty ought to be insisted upon in translations from Chinese.

Like many Victorian-era sinologists, Lionel Giles was primarily interested in classical Chinese literature, which Victorians approached as a branch of classics. The following quote shows Giles’ attitude to the problem identifying the authors of ancient works like The Lieh Tzu, The Chuang Tzu and the Tao Te Ching, as well as his opinion of the authenticity of the texts:

The extent of the actual mischief done by this “Burning of the Books” has been greatly exaggerated. Still, the mere attempt at such a holocaust gave a fine chance to the scholars of the later Han dynasty (A.D. 25-221), who seem to have enjoyed nothing so much as forging, if not the whole, at any rate portions, of the works of ancient authors. Someone even produced a treatise under the name of Lieh Tzu, a philosopher mentioned by Chuang Tzu, not seeing that the individual in question was a creation of Chuang Tzu’s brain!

Lionel Giles prodigious translations include the works of: Sun Tzu, Chuang Tzu, Lao Tzu, Mencius, and Confucius, including:
•    The Art of War (1910)
•    The Analects of Confucius (1910), or The Sayings of Confucius
•    The Sayings of Lao Tzu and Taoist Teachings (1912)
•    The Book of Mencius (1942), originally published as Wisdom of the East
•    The Life of Ch’iu Chin and The Lament On the Lady of the Ch’in
•    The Liexian Zhuan (1948), also known as Biographies of Immortals

Lao Tzu was the father of Taoism. In his Tao Te Ching, Lao Tzu outlined the basic concept of Tao.

Chuang Tzu and Lieh Tzu were Lao Tzu’s most important followers who expounded and expanded the basic principles set forth by Lao Tzu.

The translations of the works of these ancient Chinese sages by Lionel Giles and Herbert [...]]]>

Lao Tzu was the father of Taoism. In his Tao Te Ching, Lao Tzu outlined the basic concept of Tao.

Chuang Tzu and Lieh Tzu were Lao Tzu’s most important followers who expounded and expanded the basic principles set forth by Lao Tzu.

The translations of the works of these ancient Chinese sages by Lionel Giles and Herbert Giles are very highly regarded and considered by many to be the definitive English translations.

Tao – The Way – Special Edition  ISBN 1934255130

Lionel’s translation of The Sayings of Lao Tzu (1905), taken from the Tao Te Ching and logically re-ordered, is remarkable for its clarity of expression, particularly given the complexity of the subject. Herbert’s translation of The Sayings of Chuang Tzu, presented here, with an introduction by Lionel, was originally published as Musings of a Chinese Mystic (1906). Lionel’s translation of The Sayings of Lieh Tzu was originally published as The Book of Lieh Tzu, or Teachings in Taoism (1912).

These collected works represent a major portion of the philosophy of Tao as we understand it today.

From Tao – The Way – Special Edition, p 74-75, The Sayings of Chuang Tzu:

How do I know that love of life is not a delusion after all? How do I know but that he who dreads to die is as a child who has lost the way and cannot find his home?

The lady li Chi was the daughter of Ai Feng. When the Duke of Chin first got her, she wept until the bosom of her dress was drenched with tears. But when she came to the royal residence, and lived with the Duke, and ate rich food, she repented of having wept. How then do I know but that the dead repent of having previously clung to life?

Those who dream of the banquet wake to lamentation and sorrow. Those who dream of lamentation and sorrow wake to join the hunt. While they dream, they do not know that they dream. Some will even interpret the very dream they are dreaming; and only when they awake do they know it was a dream. By and by comes the Great Awakening, and then we find out that this life is really a great dream. Fools think they are awake now, and flatter themselves they know if they are really princes or peasants. Confucius and you are both dreams; and I who say you are dreams – I am but a dream myself. This is a paradox. To-morrow a sage may arise to explain it; but that tomorrow will not be until ten thousand generations have gone by.

Granting that you and I argue. If you beat me, and not I you, are you necessarily right and I wrong? Or if I beat you and not you me, am I necessarily right and you wrong? Or are we both partly right and partly wrong? Or are we both wholly right or wholly wrong? You and I cannot know this, and consequently the world will be in ignorance of the truth.

Who shall I employ as arbiter between us? If I employ some one who takes your view, he will side with you. How can such a one arbitrate between us? If I employ some one who takes my view, he will side with me. How can such a one arbitrate between us? And if I employ some one who either differs from or agrees with both of us, he will be equally unable to decide between us. Since then you, and I, and man, cannot decide, must we not depend upon Another? Such dependence is as though it were not dependence. We are embraced in the obliterating unity of God.

Once upon a time, I, Chuang Tzu, dreamt I was a butterfly, fluttering hither and thither, to all intents and purposes a butterfly. I was conscious only of following my fancies as a butterfly, and was unconscious of my individuality as a man. Suddenly I awaked, and there I lay, myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly dreaming I am a man. Between a man and a butterfly there is necessarily a barrier. The transition is called metempsychosis.