Guan Ju (Crying Ospreys)

The preface to the poem "Guan Ju" says: The poem "Guan Ju" celebrates the virtue of the queen consort. It is the first piece in the "Airs of the States" and is used to transform the world and rectify the relationship between husband and wife. Therefore, it is applicable both to the common people in the villages and to the lords of the feudal states.

The word "feng" (airs) carries the meanings of both allegorical admonition and transformative influence. Just as the wind stirs all things, transformation moves the human heart. Poetry is where the mind's intent resides; within the heart it is intent, expressed in words it becomes poetry. When emotion stirs within, it manifests in words. When words are insufficient, one sighs. When sighs are insufficient, one prolongs the voice in song. When prolonged song is still insufficient, one unconsciously dances with hands and feet.

Emotion is expressed through sound; when sound forms harmonious patterns, it is called music. The music of a peaceful age is serene and joyful—its governance is harmonious. The music of a chaotic age is resentful and angry—its governance is perverse. The music of a dying state is mournful and brooding—its people are distressed. Therefore, for correcting the gains and losses of governance, moving heaven and earth, and stirring ghosts and spirits, nothing is more immediate and effective than poetry. The ancient sage-kings used poetry to regulate the relationship between husband and wife, cultivate filial piety, enrich human relations, perfect moral transformation, and change social customs.

Thus the "Book of Songs" has six modes of expression: the first is called "feng" (airs), the second "fu" (exposition), the third "bi" (comparison), the fourth "xing" (stimulus), the fifth "ya" (odes), and the sixth "song" (hymns). Those above use "feng" to transform those below; those below use "feng" to admonish those above. Through subtle language and indirect means, they offer remonstrance: the speaker incurs no blame, and the hearer is sufficiently warned—hence it is called "feng." When the kingly way declined, ritual and righteousness were abandoned, political instruction failed, the governance of the various states became disordered, and customs differed from house to house—then the "changed airs" and "changed odes" arose. The state historians, understanding the course of political success and failure, grieving at the abandonment of human relations, lamenting the harshness of punishments and decrees, gave voice to their feelings through chanting and sighing, using them to admonish their rulers. This was because they understood the changes of the times yet cherished the old customs. Therefore, the "changed airs" arise from emotion but are bounded by ritual and righteousness. To arise from emotion is the nature of the people; to be bounded by ritual and righteousness is the grace of the ancient sage-kings. Hence, what reflects the affairs of a single state, touching only the root of its ruler, is called "feng." What discusses the great matters of the world and manifests the customs of the four quarters is called "ya." "Ya" means "correct," and it speaks of the rise and fall of kingly governance. Governance has matters great and small, so there are "Lesser Odes" and "Greater Odes." "Song" is the praise of great virtue in ceremonial form, announcing achievements to the spirits. These are called the "Four Beginnings," the highest realm of the "Book of Songs."

Thus, the transformative influence embodied in "Guan Ju" and "Lin Zhi" are the kingly airs, and so they are attributed to the Duke of Zhou. "Nan" means that the transformation spread from the north to the south. The virtue embodied in "Que Chao" and "Zou Yu" are the airs of the feudal lords, used by the ancient sage-kings for transformation, and so they are attributed to the Duke of Shao. "Zhou Nan" and "Shao Nan" are the great path of rectifying beginnings, the foundation of kingly instruction. Therefore, the poem "Guan Ju" rejoices in gaining a virtuous lady to match the noble man, concerns itself with advancing worthy talents, and does not indulge in sensual beauty; it cherishes the quiet and refined maiden and longs for virtuous talent, without harming the heart of goodness—this is the great meaning of the "Guan Ju" chapter.

Guan guan cry the ospreys

On the islet in the river.

So lovely is the good maiden,

A fit mate for the noble man.

Uneven grows the water mallow,

Left and right they gather it.

So lovely is the good maiden,

Awake and asleep, he seeks her.

He seeks her and does not get her,

Awake and asleep, he longs for her.

Longing deep,

Tossing and turning, he cannot sleep.

Uneven grows the water mallow,

Left and right they pluck it.

So lovely is the good maiden,

With zither and lute he befriends her.

Uneven grows the water mallow,

Left and right they choose it.

So lovely is the good maiden,

With bells and drums he delights her.

"Guan Ju" has five stanzas, each with four lines. According to another version, it has three stanzas: the first stanza has four lines, the second and third stanzas each have eight lines.