7. The Kaou yang shows the consequences flowing from the merit celebrated in the Ts'eoh ch'aou. The States to the south of Shaou were transformed by the government of king Wăn. Those who held office in them were all economical, correct, and straightforward, their virtue like that emblemed by their lamb-skins and sheep-skins. 8. In the Yin k'e luy we have a great officer exhorted to righteousness. Belonging to one of the States south of Shaou, he goes far away on the service of the govt., and has no leisure for the enjoyment of home. His wife is able at once to compassionate his toil and to exhort him to righteousness. 9. The Pëaou yew mei is about marriages at the proper time. 9. In the States south of Shaou, under the transforming influence of king Wăn, young men and maidens were able to marry at the proper times for their doing so. 10. In the Seaou sing we have the kindness of a princess descending to the ladies beneath her. Abstaining from all courses of jealousy, her kindness reaches to the meanest concubines, who go in and share the favours of the prince. They acknowledge the difference between the lot of the noble and mean, and can serve her with all their heart. 11. The Keang yëw sze is in praise of the cousins of some princess who should have accompanied her to the harem. They endured their painful position without murmuring, and she repented of her fault. In the time of king Wăn, between the Këang and the T'o, there was a princess who would not have her cousins to complete the complement of the harem. They endured the bitterness without murmuring, and she also repented of her course. 12. The Yay yew sze keun expressess disgust at the want of the observances of propriety. All under heaven there had been great disorder, and oppressive men had offered insult to the women, so that lascivious manners were the consequence. Through the transforming influence of king Wăn, even in an age of such disorder, there came to be a dislike of the want of those observances. 7.羔羊鵲巢之功致也 召南之國化文王之政在位皆節儉正德如羔 羊也 8. 殷其靁勸義也 召南之大夫遠行從政不遑寕處其室家能閔其 勤勞義也 9.標有梅男女及時也 召南之國被文王之化男女得以及時也 10 小星惠及下也 夫人無妒忌之行惠及賤妾進御於君知其命有貴 賤能盡其心矣 11. 江有汜美也 勤而無怨嫡能悔過也文王之時江沱之間有嫡不 以其媵備數勝遇 而無怨嫡亦自悔也 12. 野有死屬惡無禮也 13. The Ho pe nung e is in praise of some daughter of the royal House. Though she was thus of royal birth, and in descending to marry one of the princes, she was not restricted in her carriages and robes by her husband's rank, and they were only one degree inferior to the queen's, yet she was firmly observant of wifely duty, and displayed the virtues of reverence and harmony. 14. Tsow yu is the proper sequel to the Ts'ëoh ch'aou. The transforming influence indicated by that having gone abroad, the relations of society were rightly regulated, and the court well-ordered. The whole kingdom came under the influence of king Wăn; vegetation was luxuriant; hunting was conducted at the proper seasons; princes' benevolence was like that of the Tsow yu; and royal government was fully realized. ODES OF P'EI. 1. The Pih chow tells of a virtuous officer neglected by his ruler. In the time of duke King of Wei (B.C.866-854), virtuous men did not meet with his confidence, and mean men were by his side. 2. The Luhe contains the plaint of Chwang Këang of Wei (B.C.752-) over her lot. The place of the wife was usurped by a concubine, and the wife herself was de graded: these were the circumstances which gave occasion to this piece. 3. The Yen-yen has reference to Chwang Këang of Wei's escorting a concubine on her return to her native State. 4. In the Jih yueh Chwang Këang bemoans her lot. 天下大亂,强暴相陵遂成風被文王之化雖當亂 世猶惡無禮也 13. 何彼穠 美王姬也 雖則王姬亦下嫁於諸侯車服不繋其夫下王后一 等猶執婦道以成肅雝之德也 14. 騶虞鵲巢之應也 鵲巢之化行人倫正朝廷旣治天下純被文王之 化則庶類蕃 蒐田以時仁如騶處則王道成也 It is a piece about the hard suffering she endured from Chow-yu, and deplores the want of responsive affection which she had experienced in her deceased husband, which brought her to such straits and destitution. 5. In the Chuang jung we have Chwang Keang of Wei bemoaning herself. She was cruelly treated by Chow-yu, and met with incessant contempt and insult. 6. The Keih koo is expressive of resentment against Chow-yu of Wei. Calling out his troops in an oppressive and disorderly manner, he sent Kung-sun Wan-chung with them as general, and made peace with Ch'in and Sung, [in order to secure his success]. The people murmured because of his warlike proclivities and disregard of all propriety. 7. The Kae jung is in praise of filial sons. Such were the dissolute manners of Wei, that even a mother of seven sons could not rest in her house. The piece therefore expresses admiration of the sons, who could exercise to the utmost their filial duty, so as to comfort the heart of their mother, and give full expression to their own desire. 8. The Hèung che is directed against duke Seven of Wei (B.c. 717-699). Dissolute and disorderly, he paid no attention to the business of the State. He frequently engaged in military expeditions. The great officers were employed on service for a length of time. Husbands and wives murmured at their solitariness. The people, suffering from these things, made this ode. 9. P'aou yëw k'oo yeh is directed against duke Seuen of Wei. Both he and his wife were guilty of licentious conduct. 10. The Kuh fjuny is directed against violation of duty, as between husband and wife. The men of Wei, through the influence of their superiors, became devoted to indulgence with new matches, and abandoned their old wives. Husband and wife were thus estranged and separated; the manners of the State were injured and went to ruin. 遭州吁之難傷己不見答於先君以至困窮之詩也 5. 終風衛莊姜傷己也 遭州吁之暴見侮慢而不能正也 6. 擊鼓怨州 也 衞州吁用兵暴亂,使公孫文仲將而平陳與宋國人 怨其勇而無禮也 7. 凱風美孝子也 衞之淫風流行雖有七子之母,猶不能安其室故美 七子能盡其孝道以慰其母心而成其志爾 8. 雄雉刺衞宣公也 淫亂不恤國事軍旅數起大夫人役男女怨曠國人 思之而作是詩 9. 匏有苦葉刺衞宣公也 公與夫人站為淫亂 10. 谷風剌夫婦失道也 衞人化其上淫於新昏而棄其舊室夫婦離絶國 俗傷敗焉 11. In the Shih we we have the marquis of Le residing for a time in Wei, and his ministers exhorting him to return [to his own State]. 12. The Maou-k'ew is a reproof of the prince of Wei. The Teih had driven out the marquis of Le, who was living consequently for the time in Wei. But [the marquis of] Wei could not discharge his duty as the Chief of a region, banding together and leading on other States for common service; and the ministers of Le therefore thus reproved Wei. 13. The Keen he is directed against the neglect of men of worth in Wei. Such men, employed as pantomimes, were all fit to be ministers to a king. 14. In the Ts'euen shwuy we have a daughter of the House of Wei wishing to make a visit to her native State. She was married to the prince of another State, and her parents being dead, though she wished to visit her relatives, she could not do so. She therefore made this ode to show her feelings. 15. The Pih mun is directed against the fact that the officers of Wei did not get the opportunity to accomplish the objects which they had at heart. It tells how loyal men were deprived of this. 16. The Pih fung is directed against the cruel oppression which prevailed in Wei. All was awful oppression in Wei; the common people could not keep together in their relative circles, but took one another's hands, and went away. 17. The Tsing neu is directed against the times. The marquis of Wei was without principle, and the marchioness without virtue. 18. The Sin t'ae is directed against duke Seuen of Wei. When the duke was bringing to the State a wife for [his son] Keih, he built the new tower near the Ho, and there forced her. The people hated his conduct, and made this ode. 11. 式微黎侯寓于衞其臣勸以也 12. 旄丘責衞伯也 狄人迫逐黎侯黎侯寓于衞衞不能修方伯連率之 職黎之臣子以責於衞也 13. 簡兮剌不用賢也 衛之賢者仕於份官皆可以承事王者也 嫁於諸侯父母終思歸寧而不得故作是詩以自 見也 15. 北門剌士不得志也 言衞之忠臣不得其志爾 16. 北風刺虐也 衞國站為威虐百姓不親莫不相攜持而去焉 17. 靜女刺時也 衞君無道夫人無德 18. 新臺刺衞宣公也 納伋之妻作新臺于河上而要之國人惡之而作是 詩也 19. The Urh tsze shing chow shows how the people thought of Keih and Show. Those two sons of duke Seuen contended which should die for the other. The people thought of them with sorrow, and made this ode. ODES OF YUNG. 1. The Pih chow relates the solemn vow of Kung Këang. Kung Pih, heir to the State of Wei, having died an early death, his wife was holding fast her righteousness, when her parents wished to force her to another marriage. She refused her consent with an oath, and made this ode to put an end to their design. 2. In the Ts'ëang yew tsze, the people of Wei censure their superiors. The [former] marquis's son Hwan was living in intercourse with the [present]marquis's mother. The people hated the thing, but it could not be spoken of [directly]. 3. The Keun tsze këae laou is directed against the marchioness-[dowager] of Wei. She was living in a state of lascivious disorder, and failed in duty to her husband. The piece therefore sets forth the virtue of a prince's wife, with the rich array of her robes, and how she ought to grow old with her husband. 4. The Sang chung is directed against improper connexions. Through the licentious disorder that prevailed in the ruling House, men and women came to run to one another's arms. Even men of hereditary families, sustaining high offices, stole one another's wives and concubines, arranging meetings in hidden and distant spots. Government was relaxed, the people became demoralized, and the [tide of] evil could not be stopped. 5. The Shun che pun pun is directed against Seuen Këang of Wei. The people considered that she was not so good as a quail or a magpie. 19. 二子乘舟思及壽也 衞宣公之二子爭相為死國人傷而思之作是詩也 1. 柏舟共姜自誓也 鄘 衞世子共伯蚤死其妻守義母欲奪而嫁之誓而 弗許故作是詩以絕之 2. 牆有茨衞人刺其上也 公子頑通乎君母國人疾之而不可道也 3. 君子偕老刺衛夫人也 夫人淫亂失事君子之道故陳人君之德服飾之盛 宜與君子偕老也 4.桑中刺奔也 衞之公室淫亂,男女相奔至於世族在位相竊妻妾, 期於幽遠政散民流而不可止 5. 奔奔剌衞宣姜也 衞人以為宣姜鶉鵲之不若也 |