Yung has 永 yung everlasting (line 254P) as phonetic, the latter character being remarkable as containing all the elementary strokes used in writing. It is pretty much the same as fêng, the two characters signifying that peculiar method of crooning or humming over verses to oneself, almost universal in China. See line 263.

159.	詩	既	亡	${\displaystyle \scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,}}$	When odes ceased to be made,
	Shih1	chi4	wang2
	Poetry	when	disappear

Shih see line 135.

Chi is composed of 旡 chi to hiccough as phonetic, with an obsolete radical said to mean the fragrance of grain. It originally meant a small meal, rations, but is now a particle of finality, = since, already, etc.

Wang is composed of 入 ju to enter and 乚 an old form of 隱 yin to conceal. It means to escape as a fugitive, to perish, lost, etc. Read wu = not. [The Rev. Eitel failed to seize the point of this line, to wit, "(As to the Spring and Autumn Annals) it was when the Book of Odes was already lost, that etc." But there is no suspicion that the Odes ever were lost, the true explanation being that with the decline of the suzerain's power over the Feudal States, the construction of Ya odes fell into desuetude. See Mencius, Book IV, Pt. II, ch. 21. Neither does Père Zottoli provide a very lucid rendering in "Carmen cum cessaverit," especially as elsewhere he speaks of the "carminum liber."]

160.	春	秋	作	${\displaystyle \scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,}}$	the Spring and Autumn Annals were produced.
	Ch'un1	ch'iu1	tso4
	Spring	autumn	make

Ch'un see line 136.

Ch'iu see line 136.