6. The Ting che fang chung, is in praise of duke Wăn of Wei (BC.659-634). The State had been extinguished by the Teih, and [the people] removed eastwards across the Ho, residing in the open country of the tract of Ts'aou. Duke Hwan of Ts'e smote the Teih, and re-established the State; when Wăn removed his residence to Tsoo-këw. There he began by building the walls of a city and a market-place, after which he reared his palace, regulating things according to the exigency of the time. The people were pleased with him, the population greatly increased, and the State became wealthy. 7. In the Te tung we have the cessation of improper connexions. Duke Wăn of Wei, by his right ways, transformed the people. They became ashamed of licentious connexions, and would not be ranked with those guilty of them. 8. The Sëang shoo satirizes the want of propriety. Duke Wǎn of Wei corrected the manners of his ministers, and censured those in office, who, through the influence on them of former rulers, were without dignity of deportment. 9. The Kan maou is in praise of the love of what is good. Many of the ministers of duke Wăn of Wei loved what was good, and men of talents and virtue rejoiced to set forth good ways to them. 10. The Tsae ch'e was made by the wife of Muh of Heu. Pitying the overthrow of her native State, she was grieved that she could not save it. Duke E of Wei had been killed by the Teih; the people were dispersed, and living in huts about Ts'aou. The wife of duke Muh of Heu, pitying the ruin of Wei, and pained by the feebleness of Heu which was unable to save it, wished to return to Wei and condole with her brother. And as correct propriety forbade that, she expressed her sentiments in this ode. 6. 定之方中美衞文公也 衞為狄所滅東徙渡河野處漕邑齊桓公攘戎狄而 封之文公徙居楚邱始建城市而營宮室,得其時制 百姓說之國家殷富焉 7.蝃蝀止奔也 衞文公能以道化其民淫之恥國人不齒也 8.相鼠刺無禮也 衛文公能正其羣臣而刺在位承先君之化無禮 儀也 9. 干旄美好善也.. 衞文公臣子多好善賢者樂告以善道也 10. 載馳許穆夫人作也 閔其宗國顛覆自傷不能救也衞懿公為狄人所滅 國人分散露於漕邑許穆夫人閔衞之傷許之小 力不能救思歸唁其兄又義不得故賦是詩也 ODES OF WEI. 1. The Ke yuh celebrates the virtue of duke Woo (B.C. 812-757). He was accomplished, and could moreover listen to counsel and remonstrance, keeping himself under the restraints of propriety. In consequence of this he was received as its chief minister at the court of Chow, where they admired him, and made this ode. 2. 'The K'aou pwan was directed against duke Chwang (B.c. 756—734). He could not continue the method of his predecessor, so that men of talents withdrew from public service and lived in obscurity. 3. The Shih jin is expressive of pity for Chwang Këang. Duke Chwang, led away by his love for his favourite concubine, allowed her proudly to usurp the superior place. Worthy as Chwang Keang was, she received no responsive kindness from him, and all her life had no child. The people pitied her, and were sorry for her case. 4. The Mang was directed against the times. In the time of duke Seven (B.c. 718-699), propriety and righteousness disappeared, and licentious manners greatly prevailed. Males and females did not keep separate; the one side seduced, and the other consented. But when the flower of beauty had faded, the man abandoned and turned his back on his paramour. A woman was brought by suffering to repentance [for having cohabited improperly]. The piece therefore relates the circumstances, as a condemnation of the times, praising her return to the right, and branding dissoluteness. 5. In the Chuh kan we have a daughter of the House of Wei wishing to return to that State. Married in another State where her affection was not responded to, she wished [to return to Wei], but was able to submit to propriety. 衞 1.淇澳美武公之德也 有文章又能聽其規諫以禮自防,故能入相于周 美而作是詩也 2. 考槃刺莊公也 不能繼先公之業使賢者退而窮處 3. 碩人,閔莊美也 莊公惑於嬖妾,使土莊姜賢而不答,終以無子, 國人閔而憂之 4. 氓刺時也 宣公之時禮儀消亡淫風大行男女無別遂相奔 誘華落色衰復相背或乃困而自悔喪其耦故序 其事風焉美反正刺淫泆也 6. 竹竿衞女思歸也 適異國而不見答思而能以禮者也 6. The Hwan-lan was directed against duke Hwuy (B.c. 698-668). Proud and unobservant of propriety, the great officers made him the object of their satire. 7. The subject of the Ho kwang is the mother of duke Sëang of Sung (B.c. 649 -636). She had returned for good to Wei, but could not cease from thinking of him, and therefore made this piece. 8. The Pih he was directed against the times. It tells how an officer, on public service, where he was in the van before the king's chariots, was detained beyond the proper time, unable to return. 9. The Yew hoo was directed against the times. The males and the females of Wei were losing the time for marriage without becoming husband and wife. Anciently, when a State was suffering from the misery of famine, the rules were relaxed so that there might be many marriages; and males and females who had no partners were brought together, in order to promote the increase of the people. 10. The Muh kwa is in praise of duke Hwan of Ts'e (B c. 683–642). The State of Wei had been ruined by the Teih, and the people had fled and were living in Tsaou. Duke Hwan came to their rescue, and re-instated Wei, sending gifts, moreover, of carriages, horses, utensils, and robes. When the people thought of his conduct, they wished to recompense him largely, and made this piece. ODES OF WANG. 1. The Shoo le is expressive of pity for the old capital of Chow. A great officer of Chow, travelling on the public service, came to it, and, as he passed by, found the places of the ancestral temple, palaces, and other public buildings, all overgrown with millet. He was moved with pity for the downfall of the 6. 芄蘭刺惠公也 驕而無禮大夫 之 7. 河廣宋襄公母歸於衞思而不止故作是詩也 8. 伯兮刺時也 言君子行役為王前驅過時而不反焉 9. 有狐刺時也 衞之男女失時喪其她耦焉古者國有凶荒則殺禮 而多昏會男女之無夫家者所以育人民也 10. 木瓜美齊桓公也 衛國有狄人之敗出處于漕齊桓公救而封之遺 之車馬器服焉衞人思之欲厚報之而作是詩也 王 1. 黍離閔宗周也 周大夫行役至于宗周過故宗廟宮室盡為禾黍 House of Chow, moved about the place in an undecided way, as if he could not bear to leave it, and made this piece. 2. The Keun-tsze yu yih was directed against king P'ing. An officer being away on service, without any period fixed for his return, the great officers, thinking of his perils and hardships, were moved to this satire. 3. The Keun-tsze yang-yang is expressive of pity for Chow. Officers, amid the disorders of the times, invited one another to serve for emolument, wishing simply to preserve their persons, and to keep away from harm. 4. The Yang che shwuy was directed against king Ping. Instead of seeking to promote the comfort of his people, he kept them stationed on guard far away in his mother's country. The people of Chow murmured, and longed for their homes. 5. The Chung kuh yëw t'uy is expressive of pity for Chow. The affection between husband and wife decayed daily and became less, till in a bad year, when famine prevailed, they abandoned each other. 6. The T'oo yuen is expressive of pity for Chow. King Hwan having lost his faith to them, the States revolted from him. Animosities arose, and calamities followed one another, till the king's army was defeated and himself wounded. Superior men had no enjoyment of their life. 7. In the Koh luy we have king P'ing's own kindred finding fault with him. In the House of Chow all right principles were decayed, and the king was casting away the nine classes of his kindred. 8. The Ts'ae koh indicates the fear of calumniators. 9. The Ta keu was directed against the great officers of Chow. The rules of propriety and righteousness were violated and neglected; males seduced, and women hastened to their embraces. Hence the piece sets forth the ways of antiquity to brand the present. The great officers of the time were unable to listen properly to the cases of litigation between males and females. 閔周室之顛覆彷徨不忍去而作是詩也 2. 君子于役刺平王也 君子行役無期度大夫思其危難以風焉 3. 君子陽陽閔周也 君子遭亂相招為祿仕全身遠害而已 4. 揚之水剌平王也 不撫其民而 屯戍于母家人怨思焉 5. 中谷有推閔周也 6. 夫婦日以衰薄凶年饑饉室家相棄爾 发閔周也 桓王失信諸侯背叛構怨連禍王師傷敗君子不 樂其生焉 7.葛藟王族刺平王也 周室道衰棄其九族焉 8. 采葛懼讒也 9. 大車刺周大夫也 |