Important Words from Miscellaneous Books

群書要語 Important words from miscellaneous books (QQJC I/80b)
Quotations from 8 sources
彈琴賦 Rhapsody on Playing the Qin (QQJC I/81a-b)
Excerpts from the Qin Fu by Xi Kang
彈琴法 Qin Playing Methods (continue QQJC I/81b)
A long section with seven entries
1. Qi Song (compare QSCM)
  齊嵩云：「嵇三琴賦曰：摟、批、擽、捋、縹、繚、潎、洌，（或是：摟批、擽捋、縹繚、潎洌，） QSCM 調手勢也。皆取其名。琴宜....」
2. Zhao Weize (compare QSCM, 趙維則)
  趙惟則曰：「趙師云，凡彈琴之法必資簡靜豈....」.
3. Caishi Wunong (Continuation of above? Compare the melodies)
  蔡氏五弄：並是側聲....」.
  (QQJC I/82)
4. Xue Yijian (see text: from Qin Jue?)
  薛易簡曰：「鼓琴之時無問有人無人，常如對長者在前，身需端直，且神鮮意閑，視專思靜....」.
5. Zhao Xikuang (see text; QSCB, p. 120; also in QSDQ, Folio 10)
  趙希曠云：「夫彈琴前指不付後指踢絃....」。
6. Qin Lu (Continuation of the above?)
  琴錄云：「琴有三調，足有五調. 清平（瑟）楚側都十弄，皆清調為之本....」.
7. Qu Zhan (see text)
  麴瞻云「凡彈琴散聲虛歌如風水之澹....」. (Partial translation in QSCB Folio 4; see also QSCM)
儀式 Demeanor: 禮少儀 Li Shao Yi (straddles QQJC I/82-3)
- The title Li Shao Yi seems to mean demeanor based what is in Shao Yi from the 禮記 Li Ji; see also in QSDQ, Jizai
琴瑟埶之皆在左手埶。琴之謂抱又謂推。手將鼓謂之援，謂之引。對琴而坐當以六徽為正....
琴制尚象論 Discussion of Qin Construction and Symbolic Representation (begins on QQJC I/83)
Begins "制氣尚象其來久矣。琴之為器其制詳其義...."
琴議篇 Qin Yi Pian: Qin Critique Chapter (straddles QQJC I/83-4; compare here)
Begins "琴者禁也。禁邪歸正以和人心。始於伏羲...."
三聲論 Discussion of Three Sounds (QQJC I/84)
Begins "琴有散聲、泛聲、木聲三者.... The qin has three types of sound, open, harmonics and "wood" (usually 按 "stopped")
琴本制起法象 Origin and Symbolism of the Qin (straddles QQJC I/84-5)
Begins "昔者伏羲氏之王天下也...."
絲附木論 Discussion of Silk Attached to Wood (QQJC I/85)
From 雲山集 Yunshan Ji Record of a Cloud-Filled Mountain (43170.xxx but web mentions one by 元初全真派道士姬志真 Ji Zhizhen 6368.xxx [?])
Begins "八音皆有聲，聖人用之以作樂。獨絲不能自為而聲出於木蓋蠶與馬同氣...."
琴材論 Discussion of Qin Materials (QQJC I/85)
Begins "樂由陽來虛所生也，故莊子曰，樂出虛，夫虛則通實...."
琴體說 Speaking of the Qin Structure (QQJC I/85-6)
Begins "琴之首曰鳳額....The head of the qin is called the phoenix forehead...."
論絃象七星 Discussing How the Strings Resemble the Seven Stars (QQJC I/86)
See further; from Fengsu Tong
One line for each string, beginning "一絃屬土，主宮，為天，為君，其色黃...."
取聲用指兼述琴人善惡 On Producing Sound and Identifying the Virtues and Faults of Qin Players (QQJC I/86)
Begins "凡彈琴調弄句度...."; ends "....絕此十二則妙矣 it would be good to avoid these 12 faults"
Seems to be a list, but not clear
五音審辨乃可議琴 The Five Tones Examined and Arranged so as to Explain Qin (QQJC I/86)
A list of five, the first being, "凡宮聲和平深厚粗大其音雄洪含通然...."
彈琴有七要 Seven Essentials for Qin Play (QQJC I/86)
The list of seven is followed by an essay (11+3 columns straddline QQJC I/86-7) that begins, "琴太古樂也。正聲之所自出...." It is not clear whether it belongs together with the list it follows, or in fact what if any connection it has with the preceding several sections.
琴有九德 Qin has Nine Virtues (QQJC I/87)
A somewhat revised version of these nine, as included in Gao Lian's Eight Discourses on Living, is translated by Pei-You Chang on her website.
琴有四虛 Qin (body can) have Four Weaknesses (QQJC I/87)
A brief list including soundbox too wide, seams too lose, wood too dense and wood too thin.
琴有所宜 Qin has those who are dignified (QQJC I/87)
Begins with a list of five types of gentlemen, followed by a brief characterization of each, then a long yin shi, a list of five rules and finally a closing statement.
琴有所忌 Qin has things to shun (straddles QQJC I/87-8)
Four characterizations of people who shouldn't play qin: several types of common people, people from military households, people in commerce and professional performaners.
Begins "鼓琴有三俗：心中無德；口上無髯；腹內無墨...."
琴經須知 Qin Standards that must be known (QQJC I/88)
Begins "下指不欲粗慕則聲不真全...."
琴不妄傳 Qin should not be improperly transmitted (QQJC I/88)
Begins "洞虛皇甫先生世以琴道鳴。弟子甚眾而喪門雜然...."

End of Taiyin Daquanji, Folio 4

Footnotes (Shorthand references are explained on a separate page)

1 See the Comment on the different editions: the original of this chapter is in the Taiyin Daquanji reprinted in QQJC Vol. I, pp. 80 - 88 (70-78 in earlier edition). It is nearly identical to the same passage as reprinted in QFTGYY, pp. 74 - 84, with the latter adding punctuation. It should be noted that the meaning of a number of passages still eludes me.
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2. Added explanations
These are mostly my own added comments concerning the structure of the original text.
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3 Page 1 of Folio 4 in Taigu Yiyin
The text here seems to be much the same as that in Taiyin Daquanji, and is much easier to read.
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