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7. In the Heung choh duke K'ang of Shaou cautions king Ching.

It tells how great Heaven loves the virtuous, and favours those who go in the right way.

8. In the K'euen o duke K'ang of Shaou cautions king Ch'ing.

It tells him how he should seek for men of talents and virtue, and employ good officers.

9. In the Min laou duke Muh of Shaou reprehends king Le.

10. In the Pan the earl of Fan reprehends king Le.

Book III. DECADE OF TANG.

1. In the Tang duke Muh of Shaou gives expression to his grief on account of the great decay of the House of Chow.

King Le was without any principle of right procedure, and throughout the kingdom the rules of government and the statutes were being utterly subverted. In consequence of this, [the duke] made this ode.

2. The Yih was directed by duke Woo of Wei against king Le, with the view also of admonishing himself.

3. In the Sang yiu the earl of Juy reprehends king Le.

4. The Yun han was made by Jing Shuh to show his admiration of king Seuen. King Seuen succeeded to the remnant of power left by Le, and was bent on putting away the disorders that prevailed. When the calamity [of drought] occurred, he was afraid, and with bent body set himself to cultivate his conduct, if so he might succeed in securing its removal. The whole kingdom rejoiced at the revival of a

true royal transformation, and entered with sympathy into the king's sorrow. With reference to this, [Jing Shuh] made this ode.

7. 河酌召康公戒成王也

皇天親有德饗有道也

8. 卷阿召康公戒成王也

言求賢用吉士也

19.民勞召穆刺厲王也

10. 板凡伯剌厲王也

蕩之什三之三

1.蕩召穆公傷周室大壤也

厲王無道天下蕩蕩無綱紀文章故作是詩也

2.抑衞武公剌厲王亦以自警也

3.桑柔芮伯刺厲王也

4.雲漢仍叔美宣王也

宣王承厲王之烈內有撥亂之志遇而懼,側身修 行銷法之天下喜於王化復行百姓見憂故作是

詩也

5. The Sung kaou was made by Yin Keih-foo to show his admiration of king Seuen. The kingdom was again reduced to order, and [the king] was able to establish new States, and show his affection to the princes, [exemplified in] his rewarding the

chief of Shin.

6. The Keang han was made by Yin Keih-foo to show his admiration of king Seuen. Able now to raise up the decaying, and to put away disorder, [the king] gave charge to the duke of Shaou to reduce to order the wild tribes of the Hwae.

7. The Ching min was made by Yin Keih-foo to show his admiration of king Seuen.

Through the giving of office to men of worth, and the employment of men of ability, the House of Chow had again revived.

8. The Han yih was made by Yin Keih-foo to show his admiration of king Se uen.

[The king] was [now] able to issue his charges to the princes.

9. The Chang woo was made by duke Muh of Shaou to show his admiration of king Seuen.

[The king] possessed a constant virtue in which he accomplished his warlike undertakings. [The duke] took occasion from this to speak in the way of admonition. 10. In the Chen jang, the earl of Fan reprehends king Yëw for the great ruin [he was bringing on].

11. In the Shaou min, the earl of Fan reprehends king Yew for the great ruin

[he was bringing on].

Min means to pity. In pity for the kingdom there was no minister like the duke

of Shaou.

5. 崧高尹吉甫美宣王也

天下復平能建國親諸侯褒賞申伯焉

6. 烝民尹吉甫美宣王也

任賢使能周室中興焉

7.韓奕尹吉甫美宣王也

能錫命諸侯

8. 江漢尹吉甫美宣王也

能興衰撥亂命召公平淮夷

9. 常武召穆公美宣王也

有常德以立武事,因

為戒然

10. 瞻卬凡伯刺幽王大壤也

11. 召旻凡伯刺幽王大壤也

旻閔也閔天下無如召公之臣也

PART IV.

SACRIFICIAL ODES AND PRAISE-SONGS.

Book I. SACRIFICIAL ODES OF CHOW.

[i.] DECADE OF TS'ING MEAOU.

1. The Tsing miuou was used in sacrificing to king Wán.

When the duke of Chow had finished the city of Loh, he gave audience to the feudal princes, and led them on to sacrifice to king Wăn.

2. In Wei t'ëen che ming, we have an announcement to king Wăn of the universal peace [which was secured].

3. The Wei tsting was an accompaniment of the Siang dance.

4.

The Leeh wan was used at the accession of king Ch'ing to the government, when the princes assisted him in sacrifice.

5, The Teen tsoh was used in sacrificing to the former kings and dukes [of Chow].

6. The Haou t'ëen yëw ch'ing ming was used at the border sacrifice to Heaven and Earth.

7. The Go tsëang was used in sacrificing to king Wăn in the Hall of light.

8. The She mae was used in a royal progress, as an announcement when the burning pile was kindled to Heaven, and the king looked towards the hills and rivers.

9. The Chih king was used in sacrificing to king Woo.

10. In the Sze wăn How-tseih appears as the correlate of Heaven.

周頌四之一

清廟之什,四一之一

1. 清廟

文王也

周公既成洛邑朝諸侯率以文王焉

2. 維天之命太平告文王也

3. 維清奏象舞也

4.烈文成王政諸侯助祭也

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[ii.] DECADE OF SHIN KUNG.

1. The Shin kung was used when the princes had assisted in sacrifice, and [the king] was dismissing them in the ancestral temple.

2. The E he was used in spring and autumn, when praying for grain to God.

3. The Chin loo has reference to the visitors, who had come to assist in sacrifice. 4. The Fung neën was used in thanksgivings in autumn and winter.

5. The Yew koo was used when the instruments of music had first been completed, and they were all employed in the ancestral temple.

6. The Tsëen was used in the first month of spring when a fish was presented, and in summer, when a sturgeon was presented.

7. The Yung was used at the grand sacrifice to the highest ancestor.

8. The Tsae heen was used when the feudal princes were first introduced to the temple of king Woo.

9. In the Yew k'ih we have the viscount of Wei, come to court and introduced in the ancestral temple.

10. The Woo was an accompaniment to the woo dance.

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1. In the Min yu sëaou-tsze we have the heir-king giving audience in the ancestral temple.

2. In the Fang loh we have the heir-king in council in the ancestral temple.

3. In the King che we have all the ministers addressing admonition to the heir-king.

4. In the Seaou pe we have the heir-king asking for assistance.

臣工之什四一之二

1.臣工諸侯助祭遣於廟也

2.

噫嘻春夏新穀于上
穀于上帝也

3. 振鶩

= 之後來助祭也

4. 豐年秋

5. 有瞽始

而合乎祖也

6. 潛季冬薦魚春獻鮪也

7.雝

大祖也

8. 載見諸侯始見乎武王廟也

9. 有客微子來見祖廟也

10. 武奏大武也

閔予小子之什四一之三

1. 閔予小子嗣王朝於廟也

2. 訪落嗣王謀於廟也

3. 敬之羣臣進戒嗣王也

4. 小毖嗣王求助也

5. The Tsae shoo was used in praying to the Spirits of the land and of the grain, when the king ploughed the royal field in spring.

6. The Leang sze is a thanksgiving in the autumn to the Spirits of the land and

of the grain.

7. The Sze e is about the feasting the personators of the dead on [the day of ] the repetition of the sacrifice.

The scholar Kaou says, "The personator was of the Ling star.'

8. The Chok was used in announcing the completion of the Woo dance.

It tells how [Woo] observed the ways of his ancestors in nourishing the kingdom. 9. The Hwan was used in declarations of war in sacrificing to God and to the Father of war.

The Hwan shows the aim of Woo.

10. The Le relates to the great investment with fiefs in the ancestral temple. Lae means to give; referring to the gifts which were conferred on good men. 11. The Pwan or Pan relates to the sacrifices, in a royal progress, to the four mountains, the rivers, and the seas.

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1. The Keung celebrates the praise of duke He.

Duke He observed the rules of Pih-k'in, was economical so as to have sufficient for his expenditure, was generous in his love of the people, was attentive to husbandry and made much of the cultivation of grain, and pastured his horses near the remote borders of the State. On account of these things the people honoured him; and Ke-sun Hăng-foo having requested permission from Chow, the historiographer K'ih made this Sung-piece.

5. 載芟春籍田而新社稷也

6. 良耜秋報社稷也

7.絲衣繹賓尸也

高子曰 星之尸也

8. 酌告成大武也

言能酌先祖之道以養天下也

9. 桓講武類禡也

桓武志也

10. 賚大封於廟也

賚子也言所以錫予善人也

也守

11. 般巡守而爬四岳河海也

魯頌四之二

1. 駒頌僖公也

僖公能遵伯禽之法儉以足用寬以愛民務農重 穀牧于堈野魯人尊之於是季孫行請命於周而 史克作是頌

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