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Mao Bocheng was proud of his talent and often said: "I would rather be a broken orchid than a sagebrush."
When the king's carriage is about to start, the servant will hold the stalk and stand in front of the horse. After the carriage is started, the servant will unfold the reins and serve as the driver, and take the two reins from the upper right, kneel down, hold the stalk and separate the reins, drive it five steps and stand. When the king goes out to the carriage, the servant will hold the reins and hand over the reins. The left and right will make way, and the carriage will drive and the horses will be driven. When it comes to the main gate, the king strokes the servant's hand and looks back, and orders the charioteer to the right; the gates and ditches must be walked.
At nightfall at the tomb of Emperor Xiaowu, Wang Xiaobo came to the tomb and told his brothers: "Although the rafters and beams are new, they still bring with them the sorrow of the lost generations!"
At first, there were dozens of people who annotated Zhuangzi, but none of them could understand its main points. Xiang Xiu explained the meaning beyond the old annotations, with wonderful and unique analysis, and promoted the mysterious style. Only the two poems "Autumn Water" and "Supreme Joy" were not completed when Xiu died. When Xiuzi was young, Yi died, but there is still another copy. Guo Xiang was a man of mean conduct but with great talent. Seeing that Hideyoshi's work was not passed down to the world, I secretly took it as my own. He added his own annotations to the two chapters "Autumn Water" and "Supreme Joy", and changed the chapter "Horse's Hoof". As for the rest of the chapters, he only added some fixed sentences. Later, Xiu Yi wrote a different version, so now there are two Zhuangs, Xiang and Guo, but the meaning is the same.
The lowly should not mourn the noble, the young should not mourn the old, this is the etiquette. Only the emperor should be mourned by calling the heaven. The princes mourning each other is not etiquette.
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