1. Confucius, in his village, looked simple and sincere, and as if he were not able to speak.

2. When he was in the prince's ancestral temple, or in the court, he spoke minutely on every point, but cautiously.

3. When he was waiting at court, in speaking with the great officers of the lower grade, he spoke freely, but in a straightforward manner; in speaking with those of the higher grade, he did so blandly, but precisely.

4. When the ruler was present, his manner displayed respectful uneasiness; it was grave, but self-possessed.

5. When the prince called him to employ him in the reception of a visitor, his countenance appeared to change, and his legs to move forward with difficulty.

6. He inclined himself to the other officers among whom he stood, moving his left or right arm, as their position required, but keeping the skirts of his robe before and behind evenly adjusted.

7. He hastened forward, with his arms like the wings of a bird.

8. When the guest had retired, he would report to the prince, "The visitor is not turning round any more."

9. When he entered the palace gate, he seemed to bend his body, as if it were not sufficient to admit him.

10. When he was standing, he did not occupy the middle of the gateway; when he passed in or out, he did not tread upon the threshold.

11. When he was passing the vacant place of the prince, his countenance appeared to change, and his legs to bend under him, and his words came as if he hardly had breath to utter them.

12. He ascended the reception hall, holding up his robe with both his hands, and his body bent; holding in his breath also, as if he dared not breathe.

13. When he came out from the audience, as soon as he had descended one step, he began to relax his countenance, and had a satisfied look. When he had got the bottom of the steps, he advanced rapidly to his place, with his arms like wings, and on occupying it, his manner still showed respectful uneasiness.

14. When he was carrying the scepter of his ruler, he seemed to bend his body, as if he were not able to bear its weight. He did not hold it higher than the position of the hands in making a bow, nor lower than their position in giving anything to another. His countenance seemed to change, and look apprehensive, and he dragged his feet along as if they were held by something to the ground.

15. In presenting the presents with which he was charged, he wore a placid appearance.

16. At his private audience, he looked highly pleased.

17. The superior man did not use a deep purple, or a puce color, in the ornaments of his dress.

18. Even in his undress, he did not wear anything of a red or reddish color.

19. In warm weather, he had a single garment either of coarse or fine texture, but he wore it displayed over an inner garment.

20. Over lamb's fur he wore a garment of black; over fawn's fur one of white; and over fox's fur one of yellow.

21. The fur robe of his undress was long, with the right sleeve short.

22. He required his sleeping dress to be half as long again as his body.

23. When staying at home, he used thick furs of the fox or the badger.

24. When he put off mourning, he wore all the appendages of the girdle.

25. His undergarment, except when it was required to be of the curtain shape, was made of silk cut narrow above and wide below.

36 more verses…

About this reader

What is Scripture?

Scripture is a browser-based reader for sixteen sacred texts spanning multiple religious and literary traditions. It provides chapter-by-chapter navigation, full-text search across all works, word concordance with frequency analysis, verse-linked notes, text-to-speech, and deep linking to any chapter or verse.

Traditions Represented

The collection spans Abrahamic, East Asian, Zoroastrian, Buddhist, Finnish, and Norse traditions. It includes King James biblical text and Apocrypha, Pickthall's Quran, the Book of Mormon, Doctrine and Covenants, Pearl of Great Price, Legge's Four Books, Tao Te Ching, and Book of Poetry, Chamberlain's Kojiki, West's Bundahishn, Kern's Lotus Sutra, Haug and West's Arda Viraf, Crawford's Kalevala, and Bellows' Poetic Edda.

The committed manifests and chapter files currently describe 121 books, 2,724 chapters, and 63,141 verse records. In poetry and prose works, a verse record can represent a line or paragraph rather than a canonically numbered scriptural verse.

Licensing

The application source is AGPL-3.0. Generated text downloads and their structured arrangement are CC BY-SA 4.0; the underlying historic source texts are treated as public-domain inputs. The corpus metadata therefore describes the distributed arrangement with its CC BY-SA license rather than the Public Domain Mark.

Concordance and Related Passages

The concordance is an exact-word occurrence index with linked records grouped by work. Related Passages is separate: a TF-IDF (term frequency-inverse document frequency) cosine-similarity index compares chapter vocabulary after stop-word removal and stores up to five cross-book matches above its threshold. It is a lexical discovery aid, not a claim of historical or theological equivalence.

Deep Linking

Every chapter and verse has a permanent URL. Chapter links follow the pattern /scripture/{work}/{book}-{chapter} (e.g., /scripture/ot/gen-1 for Genesis 1). Verse links append the verse number (e.g., /scripture/ot/gen-1:26 for Genesis 1:26). These URLs can be shared, bookmarked, or cited directly.

Accessibility

Scripture supports keyboard navigation throughout: Tab moves between controls, Enter activates verse actions, and arrow keys navigate chapters. The reading pane has a skip-to-content link. All overlays (search, concordance) are focus-trapped ARIA dialogs. Dynamic content regions use aria-live for screen reader announcements. Light and dark themes are available through the theme toggle. Verse numbers are visible to assistive technology. No flashing content or motion hazards.

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