| | 禮樂志: |
六經之道同歸，而禮樂之用為急。治身者斯須忘禮，則暴嫚入之矣；為國者一朝失禮，則荒亂及之矣。人函天地陰陽之氣，有喜怒哀樂之情。天稟其性而不能節也，聖人能為之節而不能絕也，故象天地而制禮樂，所以通神明，立人倫，正情性，節萬事者也。 |
| | The principles of the Six Classics all converge toward the same goal, but the application of rites and music is most urgent. If one who cultivates oneself for a moment forgets propriety, then rudeness and disrespect will enter. One who governs the state, if he loses propriety for even one day, will have disorder and chaos reach him. Human beings contain the yin-yang qi of heaven and earth, and possess emotions such as joy, anger, sorrow, and happiness. Heaven endows people with their nature but cannot regulate it; a sage can regulate it but cannot eliminate it entirely. Therefore, sages emulate heaven and earth to establish rites and music, which serve to communicate with spirits and deities, establish human relationships, rectify emotions and nature, and regulate all affairs.
|
| | 禮樂志: |
人性有男女之情，妒忌之別，為制婚姻之禮；有交接長幼之序，為制鄉飲之禮；有哀死思遠之情，為制喪祭之禮；有尊尊敬上之心，為制朝覲之禮。哀有哭踊之節，樂有歌舞之容，正人足以副其誠，邪人足以防其失。故婚姻之禮廢，則夫婦之道苦，而淫辟之罪多；鄉飲之禮廢，則長幼之序亂，而爭鬥之獄蕃；喪祭之禮廢，則骨肉之恩薄，而背死忘先者眾；朝聘之禮廢，則君臣之位失，而侵陵之漸起。故孔子曰：「安上治民，莫殒於禮；移風易俗，莫殒於樂。」禮節民心，樂和民聲，政以行之，刑以防之。禮樂政刑四達而不誖，則王道備矣。 |
| | Human nature includes the feelings of men and women, as well as distinctions such as jealousy; therefore, rites for marriage were established. There is an order in interacting with elders and juniors; thus, the rite of communal drinking in the village was established. There are feelings of mourning for the dead and thinking of those far away; therefore, rites for funerals and sacrifices were established. There is a heart that respects superiors and honors elders; thus, the rites for court audiences and visits to the sovereign were established. In mourning there are prescribed expressions of grief such as wailing and beating one's breast; in joy, there are forms of expression like dancing and singing. For the upright person, these rites sufficiently express sincerity; for the wicked, they serve to prevent transgressions. Therefore, if the rite of marriage is neglected, then the way between husband and wife becomes difficult, and offenses involving lust and deviance multiply. If the rite of communal village drinking is neglected, then the order between elders and juniors becomes chaotic, and lawsuits involving disputes and fights increase; If rites for funerals and ancestral sacrifices are neglected, then the bonds of kinship become shallow, and many will forsake their deceased relatives and forget their ancestors; If rites for court audiences and diplomatic visits are neglected, then the positions of ruler and subject will be lost, and gradual encroachments and aggressions will arise. Therefore, Confucius said: "To stabilize superiors and govern the people, nothing is more effective than rites; to transform customs and change social mores, nothing surpasses music." Rites regulate the people's hearts, while music harmonizes their voices; government policies put these into practice, and punishments serve to prevent misconduct. When rites, music, governance, and punishment are fully implemented without contradiction, then the Way of kingship is complete.
|
| | 禮樂志: |
樂以治內而為同，禮以修外而為異；同則和親，異則畏敬；和親則無怨，畏敬則不爭。揖讓而天下治者，禮樂之謂也。二者並行，合為一體。畏敬之意難見，則著之於享獻辭受，登降跪拜；和親之說難形，則發之於詩歌詠言，鐘石筦弦。蓋嘉其敬意而不及其財賄，美其歡心而不流其聲音。故孔子曰：「 |
| | Music governs the inner self to foster unity, while rites cultivate the outer conduct to establish distinctions; Unity brings harmony and affection, whereas distinction fosters awe and respect; Harmony and affection eliminate resentment, while awe and respect prevent contention. To achieve peace in the world through courtesy and yielding is what rites and music are all about. The two operate together, uniting as one entity. Since the meaning of awe and respect is difficult to express directly, it is made evident through sacrificial offerings, acceptance or refusal of gifts, ascending and descending steps, kneeling, and bowing; Since the idea of harmony and affection is hard to depict concretely, it is expressed through poetry, songs, spoken words, and musical instruments such as bells, stones, flutes, and zithers. This is to commend the spirit of respect without focusing on material gifts, and to appreciate joyous feelings without indulging in mere sounds and music. Therefore, Confucius said: "
|
| | 禮樂志: |
禮云禮云，玉帛云乎哉？樂云樂云，鐘鼓云乎哉？」此禮樂之本也。故曰：「知禮樂之情者能作，識禮樂之文者能述；作者之謂聖，述者之謂明。明聖者，述作之謂也。」 |
| | Rites, rites—does it mean only jade and silk? Music, music—does it mean merely bells and drums?" This is the essence of rites and music. Therefore, it is said: "Those who understand the spirit of rites and music can create them; those who recognize their forms can narrate them; To create them is to be a sage, while to narrate them is to be wise." Wisdom and sainthood refer precisely to the act of narration and creation."
|
| | 禮樂志: |
王者必因前王之禮，順時施宜，有所損益，即民之心，稍稍制作，至太平而大備。周監於二代，禮文尤具，事為之制，曲為之防，故稱禮經三百，威儀三千。於是教化浹洽，民用和睦，災害不生，禍亂不作，囹圄空虛，四十餘年。孔子美之曰：「郁郁乎文哉！吾從周。」及其衰也，諸侯踰越法度，惡禮制之害己，去其篇籍。遭秦滅學，遂以亂亡。 |
| | A sovereign must follow the rites of previous kings, adapting them to suit the times and circumstances, making appropriate modifications. By aligning with the people's hearts and gradually instituting new practices, when peace and prosperity are achieved, these rites become fully established. The Zhou dynasty observed the practices of the two preceding dynasties, and its rites were especially well-developed. It established regulations for every matter and precautions for every detail; thus it was said that there were 300 ritual classics and 3,000 forms of decorum. Thus, moral instruction and cultural influence permeated thoroughly; the people lived in harmony, disasters did not arise, calamities and disorders did not occur, and prisons remained empty for more than forty years. Confucius praised it by saying: "How richly adorned with culture! I follow the Zhou." When it declined, feudal lords transgressed laws and regulations. Hating how rites and systems harmed themselves, they discarded the texts and records. After suffering the Qin dynasty's destruction of learning, rites were thus lost in chaos and disorder.
|
| | 禮樂志: |
漢興，撥亂反正，日不暇給，猶命叔孫通制禮儀，以正君臣之位。高祖說而歎曰：「吾乃今日知為天子之貴也！」以通為奉常，遂定儀法，未盡備而通終。 |
| | When the Han dynasty rose to power, it restored order from chaos, but with no time to spare each day. Nevertheless, Emperor Gaozu still commissioned Shusun Tong to establish rites and ceremonies in order to regulate the positions of ruler and subjects. Emperor Gaozu was pleased and exclaimed: "I only now understand how exalted it is to be an emperor!" He appointed Shusun Tong as Fengchang, thus establishing ritual regulations. However, before the system was fully completed, Shusun Tong passed away.
|
| | 禮樂志: |
至文帝時，賈誼以為「漢承秦之敗俗，廢禮義，捐廉恥，今其甚者殺父兄，盜者取廟器，而大臣特以簿書不報期會為故，至於風俗流溢，恬而不怪，以為是適然耳。夫移風易俗，使天下回心而鄉道，類非俗吏之所能為也。夫立君臣，等上下，使綱紀有序，六親和睦，此非天之所為，人之所設也。人之所設，不為不立，不修則壞。漢興至今二十餘年，宜定制度，興禮樂，然後諸侯軌道，百姓素樸，獄訟衰息」。乃草具其儀，天子說焉。而大臣絳、灌之屬害之，故其議遂寢。 |
| | By the time of Emperor Wen, Jia Yi believed: "The Han dynasty inherited the corrupt customs of the Qin, abandoned rites and righteousness, discarded integrity and shame. Now, in its worst cases, people kill their fathers and brothers, thieves steal ritual objects from ancestral temples, yet ministers merely regard failure to submit documents on schedule as a matter of routine. As for social customs spreading unchecked, people have become indifferent and do not find it strange, considering such things as natural occurrences. To transform customs and redirect the people's hearts toward virtue is not something ordinary officials can accomplish. Establishing relations between ruler and subject, distinguishing ranks of superiors and inferiors, ensuring that the framework of order is well-organized, and maintaining harmony among the six kinds of kinship—these are not things Heaven does; they are institutions created by human beings. What humans establish will not fail to stand, but if neglected and not maintained, it will fall into disrepair. More than twenty years have passed since the Han dynasty arose; it is now appropriate to establish systems and institutions, revive rites and music. Only then will feudal lords follow proper conduct, the people remain simple and honest, and lawsuits and disputes gradually decline." He thus drafted a preliminary outline of these rituals, which pleased the Son of Heaven. However, senior ministers such as Jiao and Guan opposed it, so his proposal was ultimately abandoned.
|
| | 禮樂志: |
至武帝即位，進用英雋，議立明堂，制禮服，以興太平。會竇太后好黃老言，不說儒術，其事又廢。後董仲舒對策言：「王者欲有所為，宜求其端於天。天道大者，在於陰陽。陽為德，陰為刑。天使陽常居大夏而以生育長養為事，陰常居大冬而積於空虛不用之處，以此見天之任德不任刑也。陽出布施於上而主歲功，陰入伏藏於下而時出佐陽。陽不得陰之助，亦不能獨成歲功。王者承天意以從事，故務德教而省刑罰。刑罰不可任以治世，猶陰之不可任以成歲也。今廢先王之德教，獨用執法之吏治民，而欲德化被四海，故難成也。是故古之王者莫不以教化為大務，立大學以教於國，設庠序以化於邑。教化已明，習俗已成，天下嘗無一人之獄矣。至周末世，大為無道，以失天下。秦繼其後，又益甚之。自古以來，未嘗以亂濟亂，大敗天下如秦者也。習俗薄惡，民人抵冒。今漢繼秦之後，雖欲治之，無可柰何。法出而姦生，令下而詐起，一歲之獄以萬千數，如以湯止沸，沸俞甚而無益。辟之琴瑟不調，甚者必解而更張之，乃可鼓也。為政而不行，甚者必變而更化之，乃可理也。故漢得天下以來，常欲善治，而至今不能勝殘去殺者，失之當更化而不能更化也。古人有言：『臨淵羨魚，不如歸而結網。』今臨政而願治七十餘歲矣，不如退而更化。更化則可善治，而災害日去，福祿日來矣。」是時，上方征討四夷，銳志武功，不暇留意禮文之事。 |
| | When Emperor Wu ascended the throne, he promoted talented and outstanding individuals, proposed to establish a Mingtang (Hall of Illumination), formulated rites and ceremonial dress, in order to promote an era of peace and prosperity. However, coinciding with this was Empress Dowager Dou's preference for the doctrines of Huang-Lao (the Yellow Emperor and Laozi), who disapproved of Confucianism; thus these plans were once again abandoned. Later, Dong Zhongshu, in his response to an imperial inquiry, stated: "If a sovereign wishes to take action, he should seek its origin from Heaven. The great principle of the Way of Heaven lies in yin and yang. Yang represents virtue, while Yin represents punishment. Heaven causes yang to dwell in the great summer, where it is responsible for generating and nurturing life; yin resides in the great winter, accumulating in empty places that are not used. From this we see that Heaven relies on virtue rather than punishment. Yang emerges above to distribute blessings and presides over the achievements of the year; yin retreats below for concealment and storage, emerging at appropriate times to assist yang. Without the assistance of yin, yang cannot alone accomplish the achievements of a year. A sovereign follows Heaven's will in his actions; therefore he emphasizes moral instruction and reduces punishments. Punishments cannot be relied upon to govern the world, just as yin alone cannot bring about a complete year's cycle. Nowadays, if one abandons the moral instruction of former kings and relies solely on officials who enforce laws to govern the people, yet hopes for virtue to spread across all under heaven, it is difficult to achieve. Therefore, ancient kings without exception regarded moral education as their most important task; they established great schools to educate within the state and set up xiang and xu (local schools) to civilize the people in the counties. When moral instruction was clear and customs well established, there were once no prisons with even a single prisoner under heaven. By the later years of the Zhou dynasty, rulers became greatly immoral, thus losing control over all under heaven. The Qin dynasty followed this and made it even worse. Since ancient times, there has never been a case like the Qin of bringing disorder upon further disorder and causing such great devastation to all under heaven. Customs became thin and corrupt, and the people violated laws and acted recklessly. Now, the Han dynasty followed after the Qin; although it wished to govern well, there was nothing it could do about it. When laws were issued, corruption arose; when decrees were promulgated, deceit followed. The number of annual lawsuits reached into the tens of thousands—like trying to stop boiling water with hot soup, it only made the boiling worse and was of no benefit. It is like a zither or se (a stringed instrument) that is out of tune; if the problem is serious, one must dismantle and retune it before it can be played again. To govern yet see no results—when the situation becomes severe, one must transform and reform completely in order for things to be properly managed. Therefore, since the Han dynasty gained control of all under heaven, it has always desired good governance; yet until now it has not succeeded in eliminating corruption and violence. The reason is that when reform was needed, it failed to carry out necessary transformation. Ancient people said: "To stand by the pond envying fish is not as good as returning home and weaving a net." Now, for more than seventy years we have desired governance while in power; it would be better to step back and carry out fundamental reform. If fundamental reform is carried out, good governance can be achieved, and disasters will gradually disappear while blessings and fortune will come increasingly." At that time, the emperor was preoccupied with campaigns against the four foreign tribes, eager for military achievements and had no time to pay attention to matters of rites and ceremonies.
|
| | 禮樂志: |
至宣帝時，琅邪王吉為諫大夫，又上疏言：「欲治之主不世出，公卿幸得遭遇其時，未有建萬世之長策，舉明主於三代之隆者也。其務在於簿書斷獄聽訟而已，此非太平之基也。今俗吏所以牧民者，非有禮義科指可世世通行者也，以意穿鑿，各取一切。是以詐偽萌生，刑罰無極，質樸日消，恩愛寖薄。孔子曰『安上治民，莫善於禮』，非空言也。願與大臣延及儒生，述舊禮，明王制，驅一世之民，濟之仁壽之域，則俗何以不若成康？壽何以不若高宗？」上不納其言，吉以病去。 |
| | By the time of Emperor Xuan, Wang Ji of Langya served as a Jiance Fu (Counselor-in-Attendance) and again submitted a memorial stating: "A ruler who desires good governance does not appear in every generation. It is fortunate for high-ranking officials to encounter such an era; yet none have proposed long-term strategies for the ages or elevated the sovereign's virtue to match that of the Three Sage Dynasties. Their duties lie merely in handling documents, adjudicating cases, and hearing lawsuits; this is not the foundation for an era of peace. Now, what ordinary officials use to govern the people are not rites and moral principles that can be passed down through generations; instead, they act on personal interpretations, making arbitrary decisions for immediate convenience. Therefore, deceit and falsehood begin to arise; punishments have no limit, the simple and sincere nature of people gradually declines, and affection and kindness become increasingly shallow. Confucius said: 'To stabilize superiors and govern the common people, nothing is better than rites'—this was not an empty statement. I wish to consult with senior ministers and invite Confucian scholars, to discuss the old rites and clarify royal institutions. By guiding a generation of people into a realm of benevolence and longevity, how could customs fail to rival those of Cheng and Kang? How could longevity fall short of that of Emperor Gaozong?" The emperor did not accept his advice, and Wang Ji left office due to illness.
|
| | 禮樂志: |
至成帝時，犍為郡於水濱得古磬十六枚，議者以為殒祥。劉向因是說上：「宜興辟雍，設庠序，陳禮樂，隆雅頌之聲，盛揖攘之容，以風化天下。如此而不治者，未之有也。或曰，不能具禮。禮以養人為本，如有過差，是過而養人也。刑罰之過，或至死傷。今之刑，非皋陶之法也，而有司請定法，削則削，筆則筆，救時務也。至於禮樂，則曰不敢，是敢於殺人不敢於養人也。為其俎豆筦弦之間小不備，因是絕而不為，是去小不備而就大不備，大不備或莫甚焉。夫教化之比於刑法，刑法輕，是舍所重而急所輕也。且教化，所恃以為治也，刑法所以助治也。今廢所恃而獨立其所助，非所以致太平也。自京師有誖逆不順之子孫，至於陷大辟受刑戮者不絕，繇不習五常之道也。夫承千歲之衰周，繼暴秦之餘敝，民漸漬惡俗，貪饕險詖，不閑義理，不示以大化，而獨敺以刑罰，終已不改。故曰：『 |
| | By the time of Emperor Cheng, sixteen ancient qing (stone chimes) were found by the riverside in Qianwei Commandery. Some argued that this was an auspicious omen. Liu Xiang, taking this as an opportunity, advised the emperor: "It is appropriate to establish the Biyong (a school for aristocrats), set up xiang and xu schools, display rites and music, elevate the sound of elegant odes, and promote courteous conduct in order to civilize all under heaven. If done so yet still fails to bring about good governance, such a case has never existed." Some said: "It is impossible to fully implement rites. Rites are fundamentally about nurturing people; if there are minor errors, it is still an act of nurturing through error." Excessive punishment may even lead to death or injury. The punishments of today are not the laws of Gao Yao, yet officials request to establish legal codes—cutting where necessary and recording as needed; this is a measure to address current affairs. As for rites and music, they say it dares not be done—this means daring to kill people but fearing the nurturing of them. Because minor deficiencies occur in matters such as ritual vessels, flutes, and strings, they abandon rites altogether. This is to discard small imperfections but create a greater one; the greater deficiency may even be worse. Compared with moral education, punishments are lighter—this is to abandon what is important and rush toward what is trivial. Moreover, moral instruction is the foundation for governance; punishment merely assists in it. Now, abandoning what we rely on and relying solely on its assistant is not a way to achieve peace and prosperity. From the capital, there have been descendants who are rebellious and disrespectful, leading to continuous cases of people being subjected to severe punishment or execution—this results from not learning the Five Constants. Having inherited the declining Zhou dynasty after a thousand years, and followed by the aftermath of the brutal Qin, the people have gradually become immersed in corrupt customs. They are greedy, treacherous, and unfamiliar with principles of righteousness; without demonstrating great moral transformation, yet relying solely on punishments to drive them—this will ultimately fail to bring change. Hence it is said: "
|
| | 禮樂志: |
導之以禮樂，而民和睦。』初，叔孫通將制定禮儀，見非於齊魯之士，然卒為漢儒宗，業垂後嗣，斯成法也。」成帝以向言下公卿議，會向病卒，丞相大司空奏請立辟雍。案行長安城南，營表未作，遭成帝崩，群臣引以定諡。 |
| | Guide the people with rites and music, and they will live in harmony." Initially, Shusun Tong was about to establish ritual systems and faced criticism from scholars of Qi and Lu. Yet in the end, he became a revered Confucian scholar of the Han dynasty; his achievements were passed down to future generations—this is an established model." Emperor Cheng submitted Xiang's proposal for discussion among the high officials. However, at that time Xiang died from illness; therefore, the Chancellor and Grand Commandant of Works submitted a memorial requesting the establishment of Biyong. An Xing, in the southern part of Chang'an city, had not yet completed preparations for the site when Emperor Cheng died. The ministers then cited this to determine his posthumous title.
|
| | 禮樂志: |
及王莽為宰衡，欲燿眾庶，遂興辟廱，因以篡位，海內畔之。世祖受命中興，撥亂反正，改定京師于土中。即位三十年，四夷賓服，百姓家給，政教清明，乃營立明堂、辟廱。顯宗即位，躬行其禮，宗祀光武皇帝于明堂，養三老五更於辟廱，威儀既盛美矣。然德化未流洽者，禮樂未具，群下無所誦說，而庠序尚未設之故也。孔子曰：「辟如為山，未成一匱，止，吾止也。」今叔孫通所撰禮儀，與律令同錄，臧於理官，法家又復不傳。漢典寢而不著，民臣莫有言者。又通沒之後，河間獻王采禮樂古事，稍稍增輯，至五百餘篇。今學者不能昭見，但推士禮以及天子，說義又頗謬異，故君臣長幼交接之道娅以不章。 |
| | When Wang Mang became the Grand Chancellor, he wished to impress the common people and thus built Biyong. Taking advantage of this, he usurped power, leading the whole country to rebel against him. Emperor Shizu received the Mandate of Heaven and revived the dynasty; he restored order from chaos, reestablishing the capital in the central region. After thirty years on the throne, all foreign peoples submitted to him and the people were well-provided for; with clear governance and moral instruction, he then began construction of Mingtang and Biyong. When Emperor Xianzong ascended the throne, he personally performed these rites. He honored Emperor Guangwu at Mingtang and hosted the Three Elders and Five More Senior Elders at Biyong; the ceremonies were both grand and beautiful. However, moral influence had not yet fully reached the people because rites and music were incomplete; officials below lacked materials to recite or discuss, and schools had not yet been established. Confucius said: "It is like building a mountain; if it has not yet reached the height of one basket, and you stop—then I say that it was my own choice to stop." Now the rites compiled by Shusun Tong were recorded together with legal codes, stored in judicial offices; however, the Legalist school did not pass them on. The Han dynasty's rituals fell into obscurity and were never widely known; neither officials nor commoners dared to speak of them. After Shusun Tong's death, the King of Hejian, Xianwang, collected ancient accounts about rites and music, gradually compiling them into more than five hundred chapters. Now, scholars cannot clearly understand these matters; they merely extrapolate from the rites of commoners to those for emperors. Their interpretations are often erroneous and inconsistent, so the principles governing interactions between rulers and subjects, elders and juniors have become obscure.
|
| | 禮樂志: |
樂者，聖人之所樂也，而可以善民心。其感人深，其移風易俗易，故先王著其教焉。 |
| | Music is what sages find joy in, and it can cultivate virtue among the people. Its influence on people's hearts is profound; its power to transform customs is great—thus, ancient kings emphasized music as an essential part of education.
|
| | 禮樂志: |
夫民有血氣心知之性，而無哀樂喜怒之常，應感而動，然後心術形焉。是以纖微虍瘁一作「衰」之音作，而民思憂；闡諧嫚易之音作，而民康樂；麤厲猛奮之音作，而民剛毅；廉直正誠之音作，而民肅敬；寬裕和順之音作，而民慈愛；流辟邪散之音作，而民淫亂。先王恥其亂也，故制雅頌之聲，本之情性，稽之度數，制之禮儀，合生氣之和，導五常之行，使之陽而不散，陰而不集，剛氣不怒，柔氣不懾，四暢交於中，而發作於外，皆安其位而不相奪也，足以感動人之善心而，不使邪氣得接焉，是先王立樂之方也。 |
| | People possess the nature of blood, qi, and intellect, yet they do not have fixed patterns for sorrow, joy, happiness, or anger. They respond to external influences and are moved by them; only then does their inner disposition become evident. Therefore, when subtle and mournful sounds arise—whether described as "hu cui" or "shuai"—the people feel sorrow and worry; when harmonious and gentle melodies emerge, the people enjoy peace and happiness; when rough and vigorous sounds arise, the people become resolute and determined; when upright and sincere tones emerge, the people behave with reverence and respect; when broad and harmonious melodies arise, the people show kindness and love; When licentious and corrupt sounds emerge, the people fall into debauchery and disorder. Ancient kings were ashamed of such disorder, so they established the refined and elegant tones of Ya and Song. These were rooted in human nature, verified by principles of measurement and calculation, regulated through rites and ceremonies, harmonizing vital energies, guiding the Five Constants' conduct, ensuring that yang energy was active but not dispersed, yin energy was cohesive but not stagnant, strong qi did not become angry, and gentle qi did not shrink. These four aspects flowed freely within and manifested outwardly, each maintaining its proper place without encroaching on others. This sufficed to move people's virtuous hearts while preventing corrupt influences from taking hold—this was the method of establishing music by ancient kings.
|
| | 禮樂志: |
王者未作樂之時，因先王之樂以教化百姓，說樂其俗，然後改作，以章功德。《》曰：「先王以作樂崇德，殷薦之上帝，以配祖考。」昔黃帝作咸池，顓頊作六莖，帝嚳作五英，堯作大章，舜作招，禹作夏，湯作濩，武王作武，周公作勺。勺，言能勺先祖之道也。武，言以功定天下也。濩，言救民也。夏，大承二帝也。招，繼堯也。大章，章之也。五英，英華茂也。六莖，及根莖也。咸池，備矣。自夏以往，其流不可聞已，殷頌猶有存者。周詩既備，而其器用張陳，周官具焉。典者自卿大夫師瞽以下，皆選有道德之人，朝夕習業，以教國子。國子者，卿大夫之子弟也。皆學歌九德，誦六詩，習六舞、五聲、八音之和。故帝舜命夔曰：「女典樂，教冑子，直而溫，寬而栗，剛而無虐，簡而無敖。詩言志，歌詠言，聲依詠，律和聲，八音克諧。」此之謂也。又以外賞諸侯德盛而教尊者。其威儀足以充目，音聲足以動耳，詩語足以感心，故聞其音而德和，省其詩而志正，論其數而法立。是以薦之郊廟則鬼神饗，作之朝廷則群臣和，立之學官則萬民協。聽者無不虛己竦神，說而承流，是以海內遍知上德，被服其風，光煇日新，化上遷善，而不知所以然，至於萬物不夭，天地順而嘉應降。故《》曰：「鐘鼓鍠鍠，磬管鏘鏘，降福穰穰。」《》云：「」鳥獸且猶感應，而況於人乎？況於鬼神乎？故樂者，聖人之所以感天地，通神明，安萬民，成性類者也。然自雅頌之興，而所承衰亂之音猶在，是謂淫過凶嫚之聲，為設禁焉。世衰民散，小人乘君子，心耳淺薄，則邪勝正。故書序「殷紂斷棄先祖之樂，乃作淫聲，用變亂正聲，以說婦人。」樂官師瞽抱其器而奔散，或適諸侯，或入河海。夫樂本情性，浹肌膚而臧骨髓，雖經乎千載，其遺風餘烈尚猶不絕。至春秋時，陳公子完奔齊。陳，舜之後，招樂存焉。故孔子適齊聞招，三月不知肉味，曰「不圖為樂之至於斯！」美之甚也。 |
| | Before a king composed new music, he used the music of previous sage-kings to educate and civilize the people, adapting it to local customs. Only after this did he compose new works to highlight virtue and achievements. The Yijing says: "Ancient kings composed music to honor virtue, offering it repeatedly to the Supreme Deity in order to accompany their ancestors." In the past, Huangdi composed Xianchi; Zhuanxu composed Liu Jing; Emperor Ku composed Wu Ying; Yao composed Dazhang; Shun composed Zhao; Yu composed Xia; Tang composed Huo; King Wu composed Wu; and Duke of Zhou composed Shao. Shao means "able to inherit the way of ancestors." Wu means "to establish order over the world through merit." Huo means "to rescue the people." Xia signifies a great continuation of the two sage-kings. Zhao means "to succeed Yao." Dazhang signifies to clarify and honor it. Wuying means flourishing brilliance. Liu Jing refers to reaching the roots and stems. Xianchi means completeness. From the Xia dynasty onward, their influence has been lost to history; only some Shong of the Yin dynasty remain. The Zhou poetry was complete, and its instruments were fully arranged; the Zhou officials' duties were clearly defined in the system. From high-ranking officials, scholars, and blind musicians down to lower ranks, all selected individuals of virtue and morality were chosen; they studied diligently day and night in order to educate the sons of nobles. The guizi refers to the children of high-ranking officials and scholars. They all studied songs about the Nine Virtues, recited the Six Poems, practiced the Six Dances, and learned the harmony of Five Tones and Eight Sounds. Therefore, Emperor Shun ordered Kuai: "You are in charge of music and must educate the noble youths. Be upright yet gentle, broad-minded yet respectful, firm yet not cruel, simple yet not arrogant." "Poetry expresses aspirations; songs echo words. Tones follow the singing, and pitch harmonizes with sound—thus all Eight Sounds achieve harmony." This is what it means. Furthermore, music was also used to reward feudal lords whose virtue and respect for education were outstanding. Their ceremonies and appearances were sufficient to impress the eyes, their music and sounds enough to move the ears, and their poetic words enough to touch the heart. Therefore, hearing their music cultivated virtue; reflecting on their poetry straightened one's aspirations; and examining their principles established law. Therefore, offering it at ancestral temples pleased the spirits; performing it in court harmonized officials; and establishing it in schools united the people. Those who listened could not help but empty their minds and raise their spirits, rejoicing in the flow of virtue. Thus, throughout the realm, people widely knew of the superior virtue, were influenced by its customs, and daily saw new radiance; they transformed toward goodness without realizing why—until all things flourished, heaven and earth harmonized, and auspicious signs descended. Hence the Shijing says: "The bells and drums resound, the stone chimes and flutes ring clearly; blessings descend in abundance." The Shangshu says: "Striking stones and clapping hands, all beasts follow in dance." Even birds and beasts are moved—how much more so humans? And how much more the spirits! Therefore, music is what sages use to move heaven and earth, communicate with gods and spirits, pacify the people, and complete human nature. However, since the rise of Ya and Song music, corrupt and chaotic sounds from previous eras still remained. These were called licentious, violent, or vulgar tones, for which prohibitions were established. When the world declines and people scatter, petty individuals take advantage of virtuous ones; when hearts and ears are shallow and insubstantial, evil prevails over righteousness. Hence the Shangshu states: "King Zhou of Yin abandoned the music of his ancestors and created licentious sounds, using them to corrupt proper tones in order to please women." Music officials and blind musicians carried their instruments and fled; some went to feudal lords, others into rivers or the sea. Music originates from human nature; it permeates flesh and marrow. Even after a thousand years, its lingering influence and enduring legacy remain unbroken. By the Spring and Autumn period, Gongzi Wan of the state of Chen fled to Qi. Chen was a descendant of Shun; its music preserved Zhao's traditions. Therefore, Confucius went to Qi and heard the Zhao music. For three months he did not know the taste of meat, saying: "I had never imagined that music could reach such a level!" He greatly admired it.
|
| | 禮樂志: |
周道始缺，怨刺之詩起。王澤既竭，而詩不能作。王官失業，雅頌相錯，孔子論而定之，故曰：「吾自衛反魯，然後樂正，雅頌各得其所。」是時，周室大壞，諸侯恣行，設兩觀，乘大路。陪臣管仲、季氏之屬，三歸雍徹，八佾舞廷。制度遂壞，陵夷而不反，桑間、濮上，鄭、衛、宋、趙之聲並出，內則致疾損壽，外則亂政傷民。巧偽因而飾之，以營亂富貴之耳目。庶人以求利，列國以相間。故秦穆遺戎而由余去，齊人餽魯而孔子行。至於六國，魏文侯最為好古，而謂子夏曰：「寡人聽古樂則欲寐，及聞鄭、衛，余不知倦焉。」子夏辭而辨之，終不見納，自此禮樂喪矣。 |
| | When the Zhou dynasty's way began to decline, poems of complaint and satire arose. When royal virtue was exhausted, poetry could no longer be composed. When royal officials lost their posts, Ya and Song music became confused. Confucius reviewed and standardized them; hence he said: "Since I returned to Lu from Wei, the music was corrected, and Ya and Song each found their proper place." At that time, the Zhou dynasty had greatly declined; feudal lords acted recklessly, building two towers and riding in grand chariots. Ministers such as Guan Zhong of Qi and the Ji family of Lu, used three returns for 雍彻 (Yongche) ceremonies and had eight rows of dancers performing in their courts. The system thus collapsed, declining further without recovery. Music from Sangjian and Poshang in the states of Zheng, Wei, Song, and Zhao emerged together; internally it caused illness and shortened lives, externally it disrupted governance and harmed the people. Cunning deceptions followed, embellishing these sounds to cater to the desires of the wealthy and powerful for pleasure. Commoners pursued profit through them; rival states used such music to outdo one another. Therefore, when Qin Mu sent gifts to the Rong people, Youyu left; and when Qi offered gifts to Lu, Confucius departed. By the time of the Six States, King Wenhou of Wei was most fond of antiquity. He told Zixia: "When I listen to ancient music, I feel drowsy; but when I hear Zheng and Wei music, I do not know fatigue." Zixia politely declined and explained the matter, yet his words were never accepted. From then on, rites and music perished.
|
| | 禮樂志: |
漢興，樂家有制氏，以雅樂聲律世世在大樂官，但能紀其鏗鎗鼓舞，而不能言其義。高祖時，叔孫通因秦樂人制宗廟樂。大祝迎神于廟門，奏嘉至，猶古降神之樂也。皇帝入廟門，奏永至，以為行步之節，猶古采薺、肆夏也。乾豆上，奏登歌，獨上歌，不以筦弦亂人聲，欲在位者遍聞之，猶古清廟之歌也。登歌再終，下奏休成之樂，美神明既饗也。皇帝就酒東廂，坐定，奏永安之樂，美禮已成也。又有房中祠樂，高祖唐山夫人所作也。周有房中樂，至秦名曰壽人。凡樂，樂其所生，禮不忘本。高祖樂楚聲，故房中樂楚聲也。孝惠二年，使樂府令夏侯寬備其簫管，更名曰安世樂。 |
| | When the Han dynasty rose, there was a family of musicians called Zhi Shi who passed down the principles of Ya music and pitch regulations through generations in the Grand Music Office. However, they could only record the clangs, drums, and dances but could not explain their meanings. During Emperor Gaozu's reign, Shusun Tong used Qin dynasty musicians to create temple music for the imperial ancestors. The Grand Priest welcomed the spirits at the temple gate, playing Jia Zhi; this was still akin to ancient music for summoning deities. When the emperor entered the temple gate, Yong Zhi was played to mark his pace; this resembled ancient music such as Cai Ji and Si Xia. When the ritual vessels were placed, Dengge was played; it consisted of solo singing without flutes or strings to interfere with human voices. This ensured that all present could clearly hear it—similar to the ancient Qingmiao hymn. After Dengge was performed twice, Xiu Cheng music followed below, signifying that the spirits had been pleased and accepted offerings. When the emperor approached the eastern chamber for libations and took his seat, Yong'an music was played to signify that the rites had been completed. There were also Fangzhong cile music, composed by Empress Tanshan of Emperor Gaozu. The Zhou dynasty had Fangzhong music; by the Qin dynasty it was called Shouren. All music celebrates its origin, and rites never forget their roots. Emperor Gaozu favored the music of Chu, so Fangzhong music was in the style of Chu. In the second year of Emperor Xiaohui's reign, he ordered Xuefu Ling Xiahou Kuan to prepare flutes and pipes for it; it was renamed Anshi Yue.
|
| | 禮樂志: |
高祖廟奏武德、文始、五行之舞；孝文廟奏昭德、文始、四時、五行之舞；孝武廟奏盛德、文始、四時、五行之舞。武德舞者，高祖四年作，以象天下樂己行武以除亂也。文始舞者，曰本舜招舞也，高祖六年更名曰文始，以示不相襲也。五行舞者，本周舞也，秦始皇二十六年更名曰五行也。四時舞者，孝文所作，以明示天下之安和也。蓋樂己所自作，明有制也；樂先王之樂，明有法也。孝景采武德舞以為昭德，以尊大宗廟。至孝宣，采昭德舞為盛德，以尊世宗廟。諸帝廟皆常奏文始、四時、五行舞云。高祖六年又作昭容樂、禮容樂。昭容者，猶古之昭夏也，主出武德舞。禮容者，主出文始、五行舞。舞人無樂者，將至至尊之前不敢以樂也；出用樂者，言舞不失節，能以樂終也。大氐皆因秦舊事焉。 |
| | At the temple of Emperor Gaozu, Wude, Wenshi, and Wu Xing dances were performed; at the temple of Emperor Xiaowen, Zhao De, Wenshi, Sishi, and Wu Xing Dances were performed; at the temple of Emperor Xiao Wu, Shengde, Wenshi, Sish, and Wu Xing dances. The Wude Dance was created in the fourth year of Emperor Gaozu's reign to symbolize that all under heaven rejoiced as he used military force to eliminate chaos. The Wenshi Dance was originally the Zhao Dance of Shun; in the sixth year of Emperor Gaozu's reign, it was renamed Wenshi to indicate that it did not follow previous traditions. The Wu Xing Dance was originally the Zhou dynasty dance; in the twenty-sixth year of Qin Shi Huang's reign, it was renamed Wu Xing. The Sishi Dance was created by Emperor Xiaowen to clearly demonstrate peace and harmony throughout the realm. Music that one creates for oneself signifies clear establishment of standards; performing the music of former kings indicates adherence to established laws. Emperor Xiaojing adopted the Wude Dance and renamed it Zhao De, in order to honor the main ancestral temple of his dynasty. By Emperor Xiao Xuan's reign, the Zhao De Dance was adopted and renamed Shengde to honor the temple of the imperial ancestor. The temples of all emperors regularly performed the Wenshi, Sishi and Wu Xing dances, it is said. In the sixth year of Emperor Gao Zu's reign, they also composed Zhao Rong Yue and Li Rong Yue. Zhao Rong was similar to the ancient Zhao Xia; it mainly performed the Wude dance. Li Rong, which mainly performed the Wenshi and Wu Xing dances. When dancers perform without music, it is because they dare not play music before reaching the most exalted presence; when music accompanies their performance, it signifies that the dancers maintain rhythm and can complete the dance in harmony with the music. Most of these were based on existing practices from the Qin dynasty.
|
| | 禮樂志: |
初，高祖既定天下，過沛，與故人父老相樂，醉酒歡哀，作「風起」之詩，令沛中僮兒百二十人習而歌之。至孝惠時，以沛宮為原廟，皆令歌兒習吹以相和，常以百二十人為員。文、景之間，禮官肄業而已。至武帝定郊祀之禮，祠太一於甘泉，就乾位也；祭后土於汾陰，澤中方丘也。乃立樂府，采詩夜誦，有趙、代、秦、楚之謳。以李延年為協律都尉，多舉司馬相如等數十人造為詩賦，略論律呂，以合八音之調，作十九章之歌。以正月上辛用事甘泉圜丘，使童男女七十人俱歌，昏祠至明。夜常有神光如流星止集于祠壇，天子自竹宮而望拜，百官侍祠者數百人皆肅然動心焉。 |
| | Initially, after Emperor Gaozu had pacified the realm, he passed through Pei and rejoiced with his old friends and elders. Drunk on wine and filled with joy and sorrow, he composed a poem titled "Feng Qi" (The Rising Wind), and ordered 120 boys from Pei to learn and sing it. By the time of Emperor Xiaohui, Pei Palace was established as an ancestral temple. The singing boys were ordered to learn playing instruments to accompany the songs, and a regular quota of 120 people was maintained. During the reigns of Emperors Wen and Jing, it was merely practiced by ritual officials as an academic exercise. It was not until Emperor Wu established the rites for sacrifices at the outer altars that he worshipped Taiyi at Ganquan, aligning with the position of Qian. He sacrificed to Hou Tu in Fenyin, which was located at Zhongfang Chou in the marshlands. He then established the Yuefu (Music Bureau), collected poems for recitation at night, and included songs from Zhao, Dai, Qin, and Chu. He appointed Li Yannian as Xielv Duyi (Inspector of Musical Harmony) and commissioned dozens of people, including Sima Xiangru, to compose poems and essays. They briefly discussed pitch pipes and tuning systems in order to harmonize the eight tones of music, creating nineteen songs. On the first Xin day of the first month, rituals were conducted at the round altar in Ganquan; seventy boys and girls sang together from dusk until dawn. At night, there were often divine lights like shooting stars that stopped and gathered on the altar. The emperor himself, from a bamboo pavilion, gazed and paid homage; hundreds of officials who served at the sacrifice all felt deeply moved and solemn.
|
| | 禮樂志: |
安世房中歌十七章，其詩曰： |
| | The seventeen chapters of Anshi Fangzhong Songs have the following verses:
|
| | 禮樂志: |
大孝備矣，休德昭清。高張四縣，樂充宮庭。芬樹羽林，雲景杳冥，金支秀華，庶旄翠旌。 |
| | Great filial piety is complete, and noble virtue shines clear. The four counties are highly elevated; music fills the palace halls. Fragrant trees and feathered troops, dark clouds and distant scenery—golden branches in bloom, colorful banners of jade and green.
|
| | 禮樂志: |
七始華始，肅倡和聲。神來宴娭，庶幾是聽。粥粥音送，細齊人情。忽乘青玄，熙事備成。清思眑眑，經緯冥冥。 |
| | The seven beginnings and the first bloom; solemn chants harmonize with sound. Divine beings come to feast and enjoy, surely they will listen. The flowing music is sent forth, subtly harmonizing human feelings. Suddenly riding the azure and dark heavens, all affairs are completed in prosperity. Clear thoughts linger on; the meridians and latitudes stretch into darkness.
|
| | 禮樂志: |
我定曆數，人告其心。敕身齊戒，施教申申。乃立祖廟，敬明尊親。大矣孝熙，四極爰轃。 |
| | I have established the calendar and numbers, people will know my heart. Uphold self-discipline and observe rituals; teach and instruct repeatedly. Thus, the ancestral temple was established to honor and clarify reverence for ancestors. Great is filial piety and prosperity; all four directions are harmonized.
|
| | 禮樂志: |
王侯秉德，其鄰翼翼，顯明昭式。清明鬯矣，皇帝孝德。竟全大功，撫安四極。 |
| | Dukes and marquises uphold virtue, their neighbors orderly and respectful, clearly demonstrating exemplary conduct. Clarity and purity are fully realized; the emperor's filial virtue shines. Completing great achievements, pacifying all four corners of the realm.
|
| | 禮樂志: |
海內有姦，紛亂東北。詔撫成師，武臣承德。行樂交逆，簫、勺群慝。肅為濟哉，蓋定燕國。 |
| | Within the seas there was treachery; chaos arose in the northeast. The emperor decreed peace and formed an army, military officials carrying virtue with honor. Music and joy intermingle in disorder; flutes and ladles among the wicked crowd. With solemnity, they achieved success; thus was Yan State pacified.
|
| | 禮樂志: |
大海蕩蕩水所歸，高賢愉愉民所懷。大山崔，百卉殖。民何貴？貴有德。 |
| | The vast sea flows endlessly—where waters return; the noble and wise bring joy—where people find their hearts at ease. Towering mountains rise high, myriad plants flourish. What is most precious to the people? Precious is virtue.
|
| | 禮樂志: |
安其所，樂終產。樂終產，世繼緒。飛龍秋，游上天。高賢愉，樂民人。 |
| | Secure in their place, they find joy in lasting prosperity. Joy in lasting prosperity continues through generations. The flying dragon of autumn soars to the heavens above. Noble and wise bring joy, delighting the people.
|
| | 禮樂志: |
豐草葽，女羅施。殒何如，誰能回！大莫大，成教德；長莫長，被無極。 |
| | Luxuriant grasses grow thick; female vines spread wide. How can it be reversed, who could turn back time! Nothing is greater than cultivating virtue and education; nothing lasts longer than the boundless influence of benevolence.
|
| | 禮樂志: |
雷震震，電燿燿。明德鄉，治本約。治本約，澤弘大。加被寵，咸相保。德施大，世曼壽。 |
| | Thunder rumbles, lightning flashes brightly. Virtue shines bright; governance is rooted in simplicity and restraint. Rooted in simplicity, virtue spreads widely. Bestowed with favor, all are protected together. Virtue spreads widely; the world enjoys long life.
|
| | 禮樂志: |
都荔遂芳，窅窊桂華。孝奏天儀，若日月光。乘玄四龍，回馳北行。羽旄殷盛，芬哉芒芒。孝道隨世，我署文章。桂華。 |
| | Dulishui Fang, Yawo Guihua. Filial piety ascends to the celestial order, like the radiance of sun and moon. Riding four dragons through the dark, they turn back northward in flight. Feathered banners flourish; fragrant and vast beyond measure. Filial virtue follows the ages, I compose these words. Guihua.
|
| | 禮樂志: |
馮馮翼翼，承天之則。吾易久遠，燭明四極。慈惠所愛，美若休德。杳杳冥冥，克綽永福。美芳。 |
| | Steady and orderly, upholding the principles of heaven. My virtue endures through time; it illuminates all four corners of the world. Compassion and grace, beautiful as noble virtue. In the distant darkness, blessings endure forever. Meifang.
|
| | 禮樂志: |
磑磑即即，師象山則。烏呼孝哉，案撫戎國。蠻夷竭歡，象來致福。兼臨是愛，終無兵革。 |
| | Steady and resolute, following the example of mountains. Ah, how filial! Governing the martial state with care. Barbarians and outsiders express joy; auspicious signs bring blessings. With love for all, war and weapons are finally avoided.
|
| | 禮樂志: |
嘉薦芳矣，告靈饗矣。告靈既饗，德音孔臧。惟德之臧，建侯之常。承保天休，令問不忘。 |
| | Fragrant offerings are presented; the spirits are informed and pleased. Having been honored by the spirits, virtuous words are deeply cherished. Only virtue is treasured; it is the constant way to establish marquises. Receiving heaven's blessings, a noble reputation endures without forgetting.
|
| | 禮樂志: |
皇皇鴻明，蕩侯休德。嘉承天和，伊樂厥福。在樂不荒，惟民之則。 |
| | Majestic and luminous, the great light clears the virtuous marquises. Blessed by heavenly harmony, they enjoy its happiness and fortune. In joy without excess, it is the model for the people.
|
| | 禮樂志: |
浚則師德，下民咸殖。令問在舊，孔容翼翼。 |
| | Deep in virtue and exemplary conduct, all common people flourish. A noble reputation from the past; great tolerance and order prevail.
|
| | 禮樂志: |
孔容之常，承帝之明。下民之樂，子孫保光。承順溫良，受帝之光。嘉薦令芳，壽考不忘。 |
| | This enduring tolerance upholds the emperor's wisdom. The people's joy, preserved by descendants in glory. Receiving warmth and kindness, they accept the emperor's radiance. Fragrant offerings of virtue endure; longevity is remembered without end.
|
| | 禮樂志: |
承帝明德，師象山則。雲施稱民，永受厥福。承容之常，承帝之明。下民安樂，受福無疆。 |
| | Upholding the emperor's virtuous rule, they follow the example of mountains. Clouds spread blessings to the people; forever receiving their fortune. This enduring tolerance upholds the emperor's wisdom. The common people live in peace and joy, receiving boundless blessings.
|
| | 禮樂志: |
郊祀歌十九章，其詩曰： |
| | Nineteen chapters of the Sacrificial Hymns for the Suburban Rites; their poem says:
|
| | 禮樂志: |
練時日，侯有望，巽膋蕭，延四方。九重開，靈之斿，垂惠恩，鴻祜休。靈之車，結玄雲，駕飛龍，羽旄紛。靈之下，若風馬，左倉龍，右白虎。靈之來，神哉沛，先以雨，般裔裔。靈之至，慶陰陰，相放怫，震澹心。靈已坐，五音飭，虞至旦，承靈億。牲繭栗，粢盛香，尊桂酒，賓八鄉。靈安留，吟青黃，遍觀此，眺瑤堂。眾嫭並，綽奇麗，顏如荼，兆逐靡。被華文，廁霧縠，曳阿錫，佩珠玉。俠嘉夜，仂蘭芳，澹容與，獻嘉觴。練時日一 |
| | Purify time and day, await with hope, burn fragrant grass, extend to all directions. Nine gates open; spirits' banners flutter. Grace is bestowed; great blessings rest. The spirit's chariot, bound with dark clouds, drawn by flying dragons, adorned with feathered banners in profusion. When the spirits descend, swift as wind-driven steeds; on the left the Azure Dragon, on the right the White Tiger. The spirits arrive, divine and abundant, preceded by rain, spreading widely and gracefully. When the spirits arrive, joyous and darkly auspicious; they move in harmony, stirring deep emotions within. The spirits are seated; five tones are arranged. From dusk to dawn, we receive the spirits' grace. Sacrificial animals are plump and fine, offerings of millet fragrant; wine in gourd vessels is honored, guests from eight directions gathered. The spirits dwell at leisure, chanting green and yellow tones; they gaze upon all this, looking toward the Jade Hall. Numerous beauties gather, graceful and extraordinary; their complexions like flowers, auspicious signs follow in profusion. Adorned with splendid patterns, dressed in misty gauze; trailing silk from Axi, adorned with pearls and jade. Through joyful nights, gathering fragrant orchids; graceful in bearing, they present fine cups of wine. Purify the time and day, one.
|
| | 禮樂志: |
帝臨中壇，四方承宇，繩繩意變，備得其所。清和六合，制數以五。海內安寧，興文匽武。后土富媼，昭明三光。穆穆優游，嘉服上黃。帝臨二 |
| | The emperor stands on the central altar; all directions receive its shelter. Thoughtful transformations proceed steadily; everything is prepared in its proper place. Purity and harmony pervade the six directions, regulated by the number five. Within the seas all is peaceful; literature flourishes and martial virtue rises. The Earth Deity, rich and venerable, shines brightly with the three lights. Graceful and leisurely, adorned in fine yellow robes. The emperor stands, two.
|
| | 禮樂志: |
青陽開動，根荄以遂，膏潤并愛，跂行畢逮。霆聲發榮，壧處頃聽，枯槁復產，乃成厥命。眾庶熙熙，施及夭胎，群生啿啿，惟春之祺。 |
| | Green Yang stirs into motion; roots and sprouts grow forth. Moisture nourishes all with love; even the weak find their way forward. Thunderous sounds bring glory, as if in a moment they are heard clearly; withered things revive and reproduce, thus completing their destiny. The multitude thrives joyfully, extending even to the unborn; all living things flourish in harmony, rejoicing in spring's blessings.
|
| | 禮樂志: |
青陽三鄒子樂。 |
| | Green Yang, three times Zouzi's music.
|
| | 禮樂志: |
朱明盛長，归與萬物，桐生茂豫，靡有所詘。敷華就實，既阜既昌，登成甫田，百鬼迪嘗。廣大建祀，肅雍不忘，神若宥之，傳世無疆。 |
| | Vibrant summer thrives and grows; returning with all things, the paulownia flourishes in abundance, bending to no obstacle. Flowers bloom into fruit; both abundant and flourishing, fields are harvested, and spirits partake in joy. Vastly establish sacrifices, solemn and harmonious without forgetting; if the gods grant favor, their legacy will endure boundlessly through generations.
|
| | 禮樂志: |
朱明四鄒子樂。 |
| | Vibrant summer, four times Zouzi's music. Note: "鄒子" (Zouzi) is translated using Pinyin as requested.
|
| | 禮樂志: |
西顥沆碭，秋氣肅殺，含秀垂穎，續舊不廢。姦偽不萌，祅孽伏息，隅辟越遠，四貉咸服。既畏茲威，惟慕純德，附而不驕，正心翊翊。 |
| | Xihao is vast and boundless; autumn's breath brings solemn destruction. Beauty lingers in the tassels, continuing what was before without neglect. Deceit and falsehood do not arise; calamities are quelled and silenced. The corners of the land extend far, and all four regions submit in harmony. Now fearing this might, they yearn for pure virtue; attached without arrogance, their upright hearts are orderly and devoted.
|
| | 禮樂志: |
西顥五鄒子樂。 |
| | Xihao, five times Zouzi's music. Note: "鄒子" is translated as "Zouzi," using Pinyin for the proper name.
|
| | 禮樂志: |
玄冥陵陰，蟄蟲蓋臧，屮木零落，抵冬降霜。易亂除邪，革正異俗，兆民反本，抱素懷樸。條理信義，望禮五嶽。籍斂之時，掩收嘉穀。 |
| | Xuanming descends into darkness; hibernating creatures are hidden and stored. Grass and trees wither, as winter brings frost to the earth. Chaos is replaced by righteousness; customs are reformed from their aberrations. The people return to simplicity, embracing purity and innate nature. Ordering principles of trust and justice, looking toward the five great mountains in reverence for rites. At harvest time, gather the bountiful grains with care.
|
| | 禮樂志: |
玄冥六鄒子樂。 |
| | Xuanming, six times Zouzi's music.
|
| | 禮樂志: |
惟泰元尊，媼神蕃釐，經緯天地，作成四時。精建日月，星辰度理，陰陽五行，周而復始。雲風雷電，降甘露雨，百姓蕃滋，咸循厥緒。繼統共勤，順皇之德，鸞路龍鱗，罔不肸飾。嘉籩列陳，庶幾宴享，滅除凶災，列騰八荒。鐘鼓竽笙，雲舞翔翔，招搖靈旗，九夷賓將。 |
| | Only Taiyuan is exalted; the Earth Deity brings abundant blessings. Woven through heaven and earth, it creates the four seasons. Carefully establish sun and moon; stars and constellations follow their courses. Yin and Yang with Five Elements cycle endlessly, returning again and again. Clouds, wind, thunder, and lightning bring sweet dew and rain; the people multiply and thrive, all following their proper paths. Successive generations work diligently in harmony with the emperor's virtue; phoenix chariots and dragon scales are adorned without exception. Fine 笾 offerings are arranged, nearly ready for feasting; calamities vanish, blessings spread across the eight directions. Bells and drums, yu and sheng flutes resound; clouds dance gracefully as banners wave. The guiding pole of spirits waves high, welcoming guests from the nine regions.
|
| | 禮樂志: |
惟泰元七建始元年，丞相匡衡奏罷「鸞路龍鱗」，更定詩曰「涓選休成」。 |
| | In the first year of Jiansi (only Taiyuan), Chancellor Kuang Heng proposed abolishing "phoenix chariots and dragon scales," revising the poem to read "carefully select completion."
|
| | 禮樂志: |
天地並況，惟予有慕，爰熙紫壇，思求厥路。恭承禋祀，縕豫為紛，黼繡周張，承神至尊。千童羅舞成八溢，合好效歡虞泰一。九歌畢奏斐然殊，鳴琴竽瑟會軒朱。璆磬金鼓，靈其有喜，百官濟濟，各敬厥事。盛牲實俎進聞膏，神奄留，臨須搖。長麗前掞光燿明，寒暑不忒況皇章。展詩應律鋗玉鳴，函宮吐角激徵清。發梁揚羽申以商，造茲新音永久長。聲氣遠條鳳鳥启，神夕奄虞蓋孔享。 |
| | Heaven and earth are in harmony; I alone yearn with longing. Thus, I illuminate the purple altar, seeking its path. With reverence I receive sacrifices; embroidered patterns flourish in profusion. Brocade and embroidery spread widely, honoring the supreme deity. A thousand children dance in formation, filling all eight directions; harmony is achieved as joy echoes for Taiyi. The nine songs are played to completion, each unique and splendid; zithers, yu flutes, and se flutes gather at Xuanzhu. Jade chimes and bronze drums resound; the spirits are joyful indeed. Officials of all ranks gather, each performing their duties with reverence. Sacrificial offerings fill the altars as fragrant fat is presented; the spirits linger and descend swiftly. The long beauty shines ahead, radiating brilliance; neither cold nor heat deviates from the emperor's grand decree. Unfolding poetry in harmony with laws and tones, jade chimes resound; palaces emit flutes, activating clear notes of the Zheng scale. Raise beams and spread wings, extending to the Shang mode; thus creating this new music for lasting generations. The sound and breath extend far as phoenixes arise; at dusk, spirits gather in joy, greatly enjoying the offerings.
|
| | 禮樂志: |
天地八丞相匡衡奏罷「黼繡周張」，更定詩曰「肅若舊典」。 |
| | Heaven and earth—eight: Chancellor Kuang Heng proposed to abolish "brocade and embroidery spread widely," revising the poem instead as "solemnly following ancient rites."
|
| | 禮樂志: |
日出入安窮？時世不與人同。故春非我春，夏非我夏，秋非我秋，冬非我冬。泊如四海之池，遍觀是邪謂何？吾知所樂，獨樂六龍，六龍之調，使我心若。訾黃其何不徠下！ |
| | Where does the sun rise or set without end? Time and age do not move in harmony with people. Thus, spring is not my spring; summer is not my summer; autumn is not my autumn; winter is not my winter. Still as the sea's expanse, gazing upon all things—what then is truth or falsehood? I know what brings joy: to ride alone with the six dragons. The harmony of the six dragons makes my heart at peace. Why, O Yellow Emperor, do you not descend!
|
| | 禮樂志: |
日出入九 |
| | Sun's rise and set, nine.
|
| | 禮樂志: |
太一況，天馬下，霑赤汗，沬流赭。志俶儻，精權奇，逦浮雲，晻上馳。體容與，迣萬里，今安匹，龍為友。元狩三年馬生渥洼水中作。 |
| | Taiyi is in harmony; the heavenly steed descends, drenched in red sweat, its body streaked with ochre. Its spirit is bold and free; refined and extraordinary, it glides past floating clouds, vanishing upward in swift flight. Graceful in form, it roams ten thousand li; who now can match? The dragon becomes its companion. Composed in the third year of Yuanshou when a horse was born from Wokou Waters.
|
| | 禮樂志: |
天馬徠，從西極，涉流沙，九夷服。天馬徠，出泉水，虎脊兩，化若鬼。天馬徠，歷無草，徑千里，循東道。天馬徠，執徐時，將搖舉，誰與期？天馬徠，開遠門，竦予身，逝昆侖。天馬徠，龍之媒，游閶闔，觀玉臺。太初四年誅宛王獲宛馬作。 |
| | The heavenly steed comes, arriving from the westernmost reaches; crossing shifting sands, the nine regions submit. The heavenly steed arrives, emerging from spring waters; its tiger-like back glows with two hues, transforming like a spirit. The heavenly steed comes forth, traversing lands without grass; it travels a thousand li in one path, following the eastern road. The heavenly steed arrives at the time of Zhuxu—will it rise and fly? With whom shall I meet? The heavenly steed comes; distant gates open. I raise my body, departing toward Kunlun. The heavenly steed arrives as the dragon's messenger, roaming through Changhe, gazing at the Jade Terrace. Composed in the fourth year of Taichu after defeating Wann Wang and capturing his horses.
|
| | 禮樂志: |
天馬十 |
| | Heavenly Steed, ten.
|
| | 禮樂志: |
天門開，詄蕩蕩，穆並騁，以臨饗。光夜燭，德信著，靈娅平而鴻，長生豫。大朱涂廣，夷石為堂，飾玉梢以舞歌，體招搖若永望。星留俞，塞隕光，照紫幄，珠熉黃。幡比还集，貳雙飛常羊。月穆穆以金波，日華燿以宣明。假清風軋忽，激長至重觴。神裴回若留放，殣冀親以肆章。函蒙祉福常若期，寂漻上天知厥時。泛泛滇滇從高斿，殷勤此路臚所求。佻正嘉吉弘以昌，休嘉砰隱溢四方。專精厲意逝九閡，紛云六幕浮大海。 |
| | The heavenly gates open wide and vast; the spirits gather in harmony to descend for the feast. Light shines through the night, virtue and trust are evident; the spirit's peace is vast, granting long life in joy. The great vermilion road stretches wide; level stones form the hall. Adorned with jade tips for dancing and singing, its form sways like a distant gaze. Stars linger in their courses; light falls like rain, illuminating the purple canopy, where pearls glow golden yellow. Banners gather and return, two wings fly together in endless circles. The moon is serene with golden waves; the sun shines brilliantly, radiating clarity. With a sudden gust of fresh wind, raise long cups for repeated toasts. The spirits linger as if reluctant to depart; they eagerly offer their offerings in full ceremony. Hidden blessings and fortune arrive as promised; the silent heavens know the appointed time. Gracefully drifting, banners rise high; earnestly along this path, they declare their desires. Light and upright, auspiciousness prospers and flourishes; joyous blessings resound silently across all directions. With focused spirit and determined will, I pass through the nine gates; clouds scatter as six canopies drift over the vast sea.
|
| | 禮樂志: |
天門十一 |
| | Heavenly Gate, eleven.
|
| | 禮樂志: |
景星顯見，信星彪列，象載昭庭，日親以察。參侔開闔，爰推本紀，汾脽出鼎，皇祜元始。五音六律，依韋饗昭，雜變並會，雅聲遠姚。空桑琴瑟結信成，四興遞代八風生。殷殷鐘石羽籥鳴。河龍供鯉醇犧牲。百末旨酒布蘭生。泰尊柘漿析朝酲。微感心攸通修名，周流常羊思所并。穰穰復正直往甯，馮蠵切和疏寫平。上天布施后土成，穰穰豐年四時榮。 |
| | The auspicious star appears clearly; the trustworthy stars shine in order. Patterns illuminate the court; the emperor closely observes and examines. The three gates open and close, tracing back to the fundamental records. The tripod emerges from Fensui; imperial blessings begin anew. The five tones and six pitch-pipes, following the rites to illuminate offerings—varied transformations converge together; elegant music resounds far and wide. The zithers of Kongsang are strung with trust and harmony, as four prosperities succeed each other and the eight winds arise. Resounding bells, stones, feathers, and flutes all chime together. The Yellow River's dragon offers carp, pure wine, and sacrificial animals. A hundred kinds of fragrant wine are spread out, giving rise to the blue orchid. The great vessel pours mulberry juice, dispelling morning intoxication. Subtle feelings reach the heart and mind, cultivating a refined reputation; flowing endlessly, thoughts converge in unity. Abundant blessings return to righteousness and peace; leaning on the turtle, harmony is achieved and order restored. Heaven bestows its grace, and Earth completes it; abundant harvests bring prosperity in all four seasons.
|
| | 禮樂志: |
景星十二元鼎五年得鼎汾陰作。 |
| | The twelfth auspicious star: In the fifth year of Yuanding, a tripod was obtained at Fenyin and made.
|
| | 禮樂志: |
齊房產草，九莖連葉，宮童效異，披圖案諜。玄氣之精，回復此都，蔓蔓日茂，芝成靈華。 |
| | In Qifang, grass is produced; nine stems with connected leaves appear. The palace children demonstrate the unusual, as they spread out maps and records to investigate. The essence of dark qi returns to this capital; it grows more luxuriant day by day, producing lingzhi fungus and spiritual blossoms.
|
| | 禮樂志: |
齊房十三元封二年芝生甘泉齊房作。 |
| | Qifang thirteen: In the second year of Yuanfeng, lingzhi mushrooms grew at Ganshan Qifang; they were made there.
|
| | 禮樂志: |
后皇嘉壇，立玄黃服，物發冀州，兆蒙祉福。沇沇四塞，徦狄合處，經營萬億，咸遂厥宇。 |
| | The august emperor builds a sacrificial altar, donning the black and yellow robes; things flourish in Ji Zhou, auspicious signs bring blessings. Yan Yan four barriers: The Di people gather together; managing ten thousand generations, all find their place and dwell in peace.
|
| | 禮樂志: |
后皇十四 |
| | The Fourteenth of Houhuang.
|
| | 禮樂志: |
華鳞鳞，固靈根。神之斿，過天門，車千乘，敦昆侖。神之出，排玉房，周流雜，拔蘭堂。神之行，旌容容，騎沓沓，般縱縱。神之徠，泛翊翊，甘露降，慶雲集。神之揄，臨壇宇，九疑賓，夔龍舞。神安坐，启吉時，共翊翊，合所思。神嘉虞，申貳觴，福滂洋，邁延長。沛施祐，汾之阿，揚金光，橫泰河，莽若雲，增陽波。遍臚驩，騰天歌。 |
| | Flowers shimmer with scales, firmly rooted in spiritual essence. The spirits' banners pass through the heavenly gates; a thousand chariots arrive, honoring Kunlun Mountain. The spirits emerge, passing by jade halls; they flow around in diversity, rising from the orchid hall. The spirits proceed, their banners flowing gracefully; riders gather thickly, moving freely and unrestrained. The spirits arrive, spreading widely and brightly; sweet dew falls, auspicious clouds gather. The spirits draw near, approaching the altar's eaves; guests from Jiuyi arrive, while Kuilong dance. The spirits sit in peace, opening auspicious times; together they spread widely and harmonize with thoughts. The spirits bestow joy and grace, offering a second toast; blessings flow abundantly, extending far and long. Grace is bestowed in abundance at Fu's bend of Fen River; golden light spreads, crossing the Tahe River. Vast as clouds, it enhances the surging waves of Yang. All declare joy and happiness, soaring in songs to the heavens.
|
| | 禮樂志: |
華鳞鳞十五 |
| | Hualinlin Fifteen.
|
| | 禮樂志: |
五神相，包四鄰，土地廣，揚浮雲。扢嘉壇，椒蘭芳，璧玉精，垂華光。益億年，美始興，交於神，若有承。廣宣延，咸畢觴，靈輿位，偃蹇驤。卉汨臚，析奚道？淫淥澤，鬓然歸。 |
| | The five deities appear, encompassing the four neighbors; land is vast, raising floating clouds. The altar of joy and grace is adorned with fragrant pepper and orchid; jade tablets shine brightly, casting radiant light. Benefiting for countless years, beauty begins to flourish; connecting with the gods, as if receiving their support. Widely proclaimed and extended, all complete their toasts; the spirit carriage takes its place, rising majestically. The grasses flow in profusion—how should we analyze the path of Xi? Overflowing with green waters, they return as if by instinct.
|
| | 禮樂志: |
五神十六 |
| | Five Deities Sixteen.
|
| | 禮樂志: |
朝隴首，覽西垠，剨電抠，獲白麟。爰五止，顯黃德，圖匈虐，熏鬻殛。闢流離，抑不詳，賓百僚，山河饗。掩回轅，鬗長馳，騰雨師，洒路陂。流星隕，感惟風，钆歸雲，撫懷心。 |
| | Approaching Longshou in the morning, gazing at the western horizon; a sudden flash of lightning strikes, and a white qilin is captured. Five deities arrive in harmony, revealing yellow virtue; the wicked are plotted against, their evil deeds punished. Drive away calamity and misfortune, suppress ill omens; welcome all officials, as mountains and rivers offer sacrifices. Wheel the carriage back in a circle, galloping swiftly ahead; summon the rain god to sprinkle water on the roadside slopes. A falling star descends, moved by the wind alone; clouds return, comforting and soothing the heart.
|
| | 禮樂志: |
朝隴首十七元狩元年行幸雍獲白麟作。 |
| | Chao Longshou seventeen: In the first year of Yuanshou, the emperor visited Yong and captured a white qilin; this was composed.
|
| | 禮樂志: |
象載瑜，白集西，食甘露，飲榮泉。赤鴈集，六紛員，殊翁雜，五采文。神所見，施祉福，登蓬萊，結無極。 |
| | Patterns display jade-like beauty, gathering in the west with brightness; they eat sweet dew and drink from the spring of glory. Red geese gather, forming a round formation of six; old and young mix together, displaying patterns in five colors. What the spirits reveal brings blessings and fortune; ascending to Penglai, they unite with boundless immortality.
|
| | 禮樂志: |
象載瑜十八太始三年行幸東海獲赤鴈作。 |
| | Xiang Zaiyu eighteen: In the third year of Taishi, the emperor visited Donghai and captured red geese; this was composed.
|
| | 禮樂志: |
赤蛟綏，黃華蓋，露夜零，晝晻濭。百君禮，六龍位，勺椒漿，靈已醉。靈既享，錫吉祥，芒芒極，降嘉觴。靈殷殷，爛揚光，延壽命，永未央。杳冥冥，塞六合，澤汪濊，輯萬國。靈禗禗，象輿轙，票然逝，旗逶蛇。禮樂成，靈將歸，託玄德，長無衰。 |
| | The crimson dragon brings peace, the yellow blossom forms a canopy; dew falls at night, and daylight dims with mist. A hundred lords observe rites, six dragons take their places; ladles of peppered wine are poured—spirits already drunk. The spirits have been honored and now bestow good omens; boundless blessings descend, bringing auspicious toasts. The spirits resound with solemnity, their light radiating brilliantly; longevity is extended, eternal without end. Deep and obscure, it fills the six directions; grace flows abundantly, uniting all nations. The spirits gather in solemnity, their chariots and banners displayed—suddenly they vanish, their flags undulating like a snake. Rites and music are complete; the spirits prepare to return, entrusting profound virtue for an enduring, unweakening legacy.
|
| | 禮樂志: |
赤蛟十九 |
| | Chidiao Nineteen.
|
| | 禮樂志: |
其餘巡狩福應之事，不序郊廟，故弗論。 |
| | Other matters concerning the emperor's tours and blessings, which do not follow the order of sacrifices at altars or temples, are therefore omitted from discussion.
|
| | 禮樂志: |
是時，河間獻王有雅材，亦以為治道非禮樂不成，因獻所集雅樂。天子下大樂官，常存肄之，歲時以備數，然不常御，常御及郊廟皆非雅聲。然詩樂施於後嗣，猶得有所祖述。昔殷周之雅頌，乃上本有娀、姜原，镨、稷始生，玄王、公劉、古公、大伯、王季、姜女、大任、太姒之德，乃及成湯、文、武受命，武丁、成、康、宣王中興，下及輔佐阿衡、周、召、太公、申伯、召虎、仲山甫之屬，君臣男女有功德者，靡不褒揚。功德既信美矣，褒揚之聲盈乎天地之間，是以光名著於當世，遺譽垂於無窮也。今漢郊廟詩歌，未有祖宗之事，八音調均，又不協於鐘律，而內有掖庭材人，外有上林樂府，皆以鄭聲施於朝廷。 |
| | At that time, King Xian of Hejian possessed refined talents and also believed that governance could not be achieved without rites and music. Therefore, he presented the elegant music he had collected. The emperor ordered the Grand Music Office to preserve and practice it, maintaining its readiness for seasonal occasions; however, it was not regularly performed. When used at sacrifices in the suburbs or temples, it did not include this refined music. Nevertheless, poetry and music passed down to later generations still provided something upon which they could base their traditions. In the past, the elegant odes of Yin and Zhou traced back to their origins: from You Song and Jiang Yuan, when Hou Ji was born; from Xuanwang, Gong Liu, Gugong, Dabo, Wang Ji, Jiangnv, Tai Ren, Taishi. They also mentioned Chengtang, Wenwang, Wuwang receiving the mandate of heaven; Wuding, Chengwang, Kangwang, Xuanwang reviving prosperity in their reigns. Down to ministers and assistants such as E Heng, Zhou Gong, Zhao Gong, Tai Gong, Shen Bo, Zhao Hu, Zhong Shanfu—no ruler or minister, man or woman with virtue and merit was left without praise and promotion. With such virtuous achievements, the praises resounded throughout heaven and earth; thus their illustrious names became renowned in their time, leaving a legacy of honor that endures eternally. Now, the poems and songs of Han dynasty sacrifices at the suburbs and temples do not trace back to ancestral deeds. The eight tones and harmonies are also inconsistent with the pitch standards of bells; internally there are talented musicians in the 掖庭 (Yeting), externally there is the Shanglin Music Bureau, all employing Zheng music within the imperial court.
|
| | 禮樂志: |
至成帝時，謁者常山王禹世受可間樂，能說其義，其弟子宋嘱等上書言之，下大夫博士平當等考試。當以為「漢承秦滅道之後，賴先帝聖德，博受兼聽，修廢官，立大學，河間獻王聘求幽隱，修興雅樂以助化。時，大儒公孫弘、董仲舒等皆以為音中正雅，立之大樂。春秋鄉射，作於學官，希闊不講。故自公卿大夫觀聽者，但聞鑑鎗，不曉其意，而欲以風諭眾庶，其道無由。是以行之百有餘年，德化至今未成。今嘱等守習孤學，大指歸於興助教化。衰微之學，興廢在人。宜領屬雅樂，以繼絕表微。孔子曰：『人能弘道，非道弘人。』河間區區，不國藩臣，以好學修古，能有所存，民到于今稱之，況於聖主廣被之資，修起舊文，放鄭近雅，述而不作，信而好古，於以風示海內，揚名後世，誠非小功小美也。」事下公卿，以為久遠難分明，當議復寢。 |
| | By the time of Emperor Cheng, Yezhe Changshan Wang Yu inherited the tradition of 可間乐 (Kejian music) through generations and could explain its meaning. His disciples Song Zhu et al. submitted a memorial about it, which was examined by officials such as Daifu Bohu Ping Dang. Ping Dang believed, "After the Han dynasty succeeded the Qin, which had destroyed the Way, it relied on the holy virtue of the late emperor to broadly accept and listen to all views, restoring abandoned offices and establishing the Grand Academy. King Xian of Hejian sought out hidden talents, reviving refined music to assist in moral transformation. At that time, great Confucian scholars such as Gongsun Hong and Dong Zhongshu all believed the music was properly harmonious and elegant, and thus established it in the Grand Music Office. The archery rituals of Spring and Autumn were conducted at schools, but they became rare and infrequently practiced. Therefore, among the high officials and ministers who observed and listened, they only heard gongs and drums without understanding their meaning. Yet to use this music to inspire and guide the common people, there was no way for it to be effective. Thus, after more than a hundred years of practice, moral transformation has still not been achieved to this day. Now, Song Zhu and others have preserved and studied this isolated tradition, whose main purpose is to revive and assist moral education. A declining and weak learning tradition—its revival or abandonment depends on people. It should be placed under the refined music office to continue what has been lost and revive its subtle essence. Confucius said, "People can promote the Way; it is not that the Way promotes people." King Xian of Hejian, though a minor vassal and not a major minister, was able to preserve something through his love of learning and restoration of ancient traditions. The people still praise him today; how much more so for the holy emperor with broad resources, who revives old writings, distances from Zheng music while approaching refined elegance, expounds without creating, believes in and loves antiquity, thereby setting an example throughout the empire, establishing a name for future generations—this is indeed no small achievement or virtue." The matter was submitted to the high officials and ministers, who considered it too distant in time and difficult to clarify clearly. They decided that the proposal should be discussed again and then put aside for now.
|
| | 禮樂志: |
是時，鄭聲尤甚。黃門名倡丙彊、景武之屬富顯於世，貴戚五侯定陵、富平外戚之家淫侈過度，至與人主爭女樂。哀帝自為定陶王時疾之，又性不好音，及即位，下詔曰：「惟世俗奢泰文巧，而鄭衛之聲興。夫奢泰則下不孫而國貧，文巧則趨末背本者眾，鄭衛之聲興則淫辟之化流，而欲黎庶敦朴家給，猶濁其源而求其清流，豈不難哉！孔子不云乎？『放鄭聲，鄭聲淫。』其罷樂府官。郊祭樂及古兵法武樂，在經非鄭衛之樂者，條奏，別屬他官。」丞相孔光、大司空何武奏：「郊祭樂人員六十二人，給祠南北郊。大樂鼓員六人，嘉至鼓員十人，邯鄲鼓員二人，騎吹鼓員三人，江南鼓員二人，淮南鼓員四人，巴俞鼓員三十六人，歌鼓員二十四人，楚嚴鼓員一人，梁皇鼓員四人，臨淮鼓員三十五人，茲邡鼓員三人，凡鼓十二，員百二十八人，朝賀置酒陳殿下，應古兵法。外郊祭員十三人，諸族樂人兼雲招給祠南郊用六十七人，兼給事雅樂用四人，夜誦員五人，剛、別柎員二人，給盛德主調篪員二人，聽工以律知日冬夏至一人，鐘工、磬工、簫工員各一人，僕射二人主領諸樂人，皆不可罷。竽工員三人，一人可罷。琴工員五人，三人可罷。柱工員二人，一人可罷。繩弦工員六人，四人可罷。鄭四會員六十二人，一人給事雅樂，六十一人可罷。張瑟員八人，七人可罷。安世樂鼓員二十人，十九人可罷。沛吹鼓員十二人，族歌鼓員二十七人，陳吹鼓員十三人，商樂鼓員十四人，東海鼓員十六人，長樂鼓員十三人，縵樂鼓員十三人，凡鼓八，員百二十八人，朝賀置酒，陳前殿房中，不應經法。治竽員五人，楚鼓員六人，常從倡三十人，常從象人四人，詔隨常從倡十六人，秦倡員二十九人，秦倡象人員三人，詔隨秦倡一人，雅大人員九人，朝賀置酒為樂。楚四會員十七人，巴四會員十二人，銚四會員十二人，齊四會員十九人，蔡謳員三人，齊謳員六人，竽瑟鐘磬員五人，皆鄭聲，可罷。師學百四十二人，其七十二人給大官挏馬酒，其七十人可罷。大凡八百二十九人，其三百八十八人不可罷，可領屬大樂，其四百四十一人不應經法，或鄭衛之聲，皆可罷。」奏可。然百姓漸漬日久，又不制雅樂有以相變，豪富吏民湛沔自若，陵夷壞于王莽。 |
| | At this time, Zheng music was especially prevalent. Famous court musicians such as Bing Qiang and Jing Wu of the Huangmen were especially wealthy and prominent in society. The powerful relatives, the Five Marquises Dingling and Fuping, along with their influential families, indulged excessively in luxury, to the point of competing with the emperor for female entertainers. Emperor Ai, when he was Prince of Dingtao, had already disapproved of this trend. He also personally disliked music; upon ascending the throne, he issued an edict stating: "Nowadays, society is excessively luxurious and refined in its artifice, leading to the rise of Zheng and Wei music." Luxury and excess lead to the people becoming disrespectful and the state impoverished; excessive refinement in artifice leads many to pursue trivialities while abandoning fundamentals. When Zheng and Wei music flourish, licentious and deviant influences spread. To hope for a simple and honest populace with sufficient households is like trying to purify water from an already polluted source—how difficult can it be! Did Confucius not say? "Ban Zheng music, for Zheng music is licentious." Therefore, the Music Bureau should be abolished. "Regarding music for sacrifices at the suburbs and ancient military rites and martial music, if they are found in the classics and not Zheng or Wei music, submit them item by item and assign them to other officials." The Chancellor Kong Guang and the Grand Commandant He Wu submitted: "Sixty-two personnel for sacrificial music are provided for ceremonies at the southern and northern suburbs. The Grand Music Drum Section has six personnel, the Jia Zhi Drum Section ten, Handan Drum two, Qichui Drum three, Jiangnan Drum two, Huainan Drum four, Bayu Drum thirty-six, Songu Drum twenty-four, Chuyan Drum one, Lianghuang Drum four, Linhuai Drum thirty-five, Zifang Drum three. In total, twelve drum sections with 128 personnel are stationed beneath the palace to perform during morning congratulations and banquets, following ancient military rites." Thirteen personnel for the outer suburban sacrifices, and various ethnic musicians also serve at the southern suburbs with sixty-seven people. Four are additionally assigned to refined music duties. Five night reciters, two Gāng and Biefu personnel, two tuning flutes for the main ritual of great virtue, one person responsible for determining winter and summer solstices using pitch standards, each with one bell worker, stone chime worker, and xiao flute worker, plus two chief officers overseeing all musicians—none of these can be dismissed. Three sheng (mouth organ) workers; one may be dismissed. Five guqin workers; three may be dismissed. old Pillar worker personnel number two, one can be dismissed. Six string and rope instrument workers; four may be dismissed. Zheng Siyue has sixty-two members, one of whom serves in refined music; the remaining sixty-one can be dismissed. Eight zither players; seven may be dismissed. Twenty Anshi Music Drum personnel, nineteen of whom can be dismissed. Pei Chui Drum Section has twelve personnel, Zuige Gu Drum Section twenty-seven, Chenchui Drum thirteen, Shangyue Drum fourteen, Donghai Drum sixteen, Changle Drum thirteen, Manle Drum thirteen. In total, eight drum sections with 128 people are stationed in the front palace and inner chambers for morning congratulations and banquets; this does not conform to established regulations. Five sheng (mouth organ) maintenance personnel, six Chu drum personnel, thirty regular attendants as singers, four regular attendant costumed performers, sixteen imperial attendants accompanying the regular singers, twenty-nine Qin dynasty-style singers, three Qin-style costumed performers, one imperial attendant accompanying the Qin-style singers, nine refined music masters—these all provide music for morning congratulations and banquets. The Chu Siyue has seventeen members, the Ba Siyue twelve, the Chao Siyue twelve, and the Qi Siyue nineteen. The Cai Ou section has three personnel, the Qi Ou six, and five sheng, se (zither), bell, and chime workers—all are Zheng-style music; they may be dismissed. One hundred forty-two Shixue personnel, of whom seventy-two supply the Grand Stables with horse milk wine; the remaining seventy may be dismissed. In total, 829 personnel; of these, 388 cannot be dismissed and should be placed under the Grand Music Office. The remaining 441 do not conform to established regulations or are Zheng-Wei-style music—they may all be dismissed." The proposal was approved. However, the common people had been gradually immersed in this for a long time. Without measures to reform and transform refined music, the wealthy officials and civilians indulged themselves as usual, leading to decline and collapse during Wang Mang's reign.
|
| | 禮樂志: |
今海內更始，民人歸本，戶口歲息，平其刑辟，牧以賢良，至於家給，既庶且富，則須庠序禮樂之教化矣。今幸有前聖遺制之威儀，誠可法象而補備之，經紀可因緣而存著也。 |
| | Now that the realm has been renewed, the people have returned to their roots. Households and populations grow annually; punishments are balanced, and virtuous officials govern them. When families are well-provided for, with a large and prosperous population, it is then necessary to implement educational rites and music through schools. Now we are fortunate to have the ceremonial forms left by previous sage rulers; they can indeed be emulated and supplemented. The principles of governance may also be preserved through these connections.
|
| | 禮樂志: |
孔子曰：「殷因於夏禮，所損益，可知也；周因於殷禮，所損益，可知也；其或繼周者，百世可知也。」今大漢繼周，久曠大儀，未有立禮成樂，此賈宜、仲舒、王吉、劉向之徒所為發憤而增嘆也。 |
| | Confucius said: "The Yin dynasty inherited the rites of the Xia dynasty; what was reduced or added can be known." "The Zhou dynasty inherited the rites of the Yin dynasty; what was reduced or augmented is also knowable;" "Whoever succeeds the Zhou, their system a hundred generations later can still be known." Now, the great Han dynasty succeeds the Zhou. For a long time, major ceremonies have been neglected; rites and music have not yet been established or completed—this is precisely what scholars such as Jia Yi, Zhong Shu, Wang Ji, and Liu Xiang lamented with frustration and sighed over.
|
