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The Mao Preface毛序 designates “Guanju”<關雎> as “the virtue of the queen consort”(后妃之德), while the Han Poetry韓詩 tradition defines it as “a satire of the times”(ci shi刺時). How can a “Correct Beginning” (zhengshi正始) piece simultaneously serve as political satire? This study reconstructs how Wei Yuan's Shi guwei≪詩古微≫ resolves this impasse through the thesis that the “Four Beginnings”(sishi四始) constitute a tili體例—a rule-governed framework for ritual-musical operation—rather than a value category equating “beginning” with “correctness.”The analysis proceeds in three stages: first, demonstrating the structural design of the Two Nan二≪南≫ (asymmetric pairing, Hall-Upper/Hall- Lower堂上/堂下 differentiation, the three-stage circuit of fangzhong房中→changle常樂→xiangdang鄉黨); second, showing through close reading of Sishi yili pian<四始義例篇> IV that the ci shi function of “Guanju” operates across content, affect, and institutional dimensions simultaneously; and third, cross-verifying Qi齊, Lu魯, and Han韓 transmissions to confirm that all three recognize “Guanju” as a zhengshi piece without any reference to “satirizing King Kang”刺康王, and that Chao Yuezhi晁說之's conflation resulted from ignoring the distinction between song誦 (reciting) and zuo作 (composing). The study elucidates Wei Yuan's interlocking adjudicatory system of three discriminating pairs—zheng/bian正/變, benyi/pangyi本義/旁義, zuo/ song作/誦—and argues that the Mao Preface's minimalist formulation functions as a locking mechanism preserving these rules, enabling Wei Yuan to redefine the Two Nan as jianshu諫書 (memorials of remonstrance). Limitations in individual emendations are also noted.

This study reinterprets Wen zhi bin bin in the “Yong Ye” chapter of the Analects as a symbolic structure embedded in socio-cultural and political power relations. Zhi is defined as the normative ground of ethical practice, while Wen is understood as a mechanism of formalization—ritual, institutions, language, and textual practice—that operates as a technology of symbolization. Within this framework, Ye denotes the failure of symbolization when Zhi remains outside Wen, whereas Shi signifies excessive formalization devoid of normative substance. Bin-bin thus does not represent a fixed harmony between substance and form, but a regulated tension in which Zhi, while mediated by Wen, retains its normative authority. Through analysis of the principle of shuer bu zuo and the narrative strategies of the Spring and Autumn Annals, this study argues that Wen functions not merely as a medium expressing Zhi but as an interpretive structure that reconstructs and regulates it. Wen zhi bin bin therefore designates a structural condition in which ethical substance becomes socially visible through symbolic mediation, sustained only insofar as Yi continues to operate as a normative criterion.

This paper analyzes how the Li Qingzhao Memorial Hall in Jinan reconstructs her literary identity and image through its exhibition narrative, with particular attention to exhibition composition and spatial arrangement. and related artifacts. In addition, through Song-dynasty–style architecture and landscaped plantings, such as osmanthus, Chinese begonia, pear blossoms, plum blossoms, and Chinese parasol trees, all of which Li Qingzhao was known to have favored during her lifetime—the memorial spatially embodies the poet’s life experiences and emotional sensibilities. The exhibition narrative constructs Li Qingzhao from three interrelated perspectives: as an outstanding ci poet of her age, as an idealized female figure representing Chinese cultural values, and as a writer who retained a deep sense of nostalgia for her hometown, Jinan. The exhibition is composed of both indoor galleries and outdoor exhibition spaces. Indoors, the displays focus on critical evaluations of the poet, the development of her life, and related books and artifacts; outdoors, her literary world is further expanded through stone carvings of ci poetry, poetry-and-painting compositions(詩畫), pavilions, and landscaped elements. However, the exhibition reveals certain limitations in systematically interpreting and conveying Li Qingzhao’s literary achievements and the literary significance of her works. Based on this analysis, the paper calls for the necessity of strengthening exhibition narratives that support literary context and interpretation in museums dedicated to literary figures.