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夫樂之在耳者曰聲，在目者曰容。聲應乎耳，可以聽知；容藏於心，難以貌觀。故聖人假干戚羽旄以表其容，發揚蹈厲以見其意，聲容選和，則大樂備矣。詩序曰：「詠歌之不足，不知手之舞之，足之蹈之也。」然樂心內發，感物而動，不覺手之自運，歡之至也。此舞之所由起也。 |
| | The part of music that is perceived by the ear is called "sheng," and the part perceived by the eye is called "rong." Sounds respond to the ear, and can be known through listening; Expressions are hidden in the heart, and difficult to observe merely by appearance. Therefore, sage rulers used shields, axes, feathers, and banners to express their expressions, and through vigorous dancing and determined steps revealed their intentions. When sounds and expressions are harmonized, the great music is complete. The "Shi Xu" says: "When singing proves insufficient to express one's feelings, one cannot help but raise one's hands in dance and stomp the feet." However, when music arises from within the heart and is stirred by external things, one moves one's hands unconsciously—it is the utmost joy. This is how dance originates.
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虞書曰：「帝乃誕敷文德，舞干羽于兩階。七旬，有苗格。」 |
| | The Shangshu (Book of Documents) says: "The emperor widely spread the virtue of culture, and performed the shield and feather dance on both sides of the palace steps." After seventy days, the Youmiao submitted."
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樂記：「孔子曰：『夫樂者，象成者也。總干而山立，武王之事也；發揚蹈厲，太公之志也；武亂皆坐，周召之治也。且夫武，始而北出，再成而滅商，三成而南，四成而南國是疆，五成而分，周公左，召公右，六成復綴以崇。天子夾振之，而四伐，盛威於中國也。」 |
| | The Yueji says: "Confucius said: 'Music is a representation of accomplishments. Standing firm as a mountain while holding shields, this was the case with King Wu; dancing vigorously and stepping powerfully reflected Duke Tai Gong's aspirations; When the dance ended and all sat down, it reflected the governance of Zhou Gong and Zhao Gong. Moreover, regarding the Wu dance: it began with a northern movement, it was completed twice to bring about Shang's downfall; The third performance turned south, the fourth performance marked the establishment of boundaries in southern territories, the fifth performance marked division, with Duke of Zhou on the left and Zhao Gong on the right, The sixth performance returned in a pattern to honor virtue. The Son of Heaven assisted in performing it, and struck four times, displaying great authority within China."
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周禮地官：「舞師掌教兵舞，帥而舞山川之祭祀；教帗舞，帥而舞社稷之祭祀；教羽舞，帥而舞四方之祭祀；教皇舞，帥而舞旱暵之事。」春官：「樂師掌國學之政，以教國子小舞。凡舞，有帗舞，有羽舞，有皇舞，有旄舞，有干舞，有人舞。旄人，凡四方之以舞仕者屬焉。凡祭祀、賓客，舞其燕樂。籥師掌教國子舞羽吹籥。祭祀則鼓羽籥之舞，賓饗則亦如之。」 |
| | The Rites of Zhou, Di Guan section: "The Dance Master was in charge of teaching military dances and led the performance of mountain and river sacrificial rites; taught feather dances to lead performances for ancestral shrine sacrifices; taught feathered dance, leading the performance of sacrificial rites for the four directions; and taught Huang dance to lead performances in response to droughts." The Chun Guan says: "The Music Master was in charge of the national school's administration, to teach young nobles basic dances. In general, there are several types of dance: feathered dance, feather and plume dance, Huang dance, Mao dance, shield dance, and human dance. The Mao Ren were responsible for all those from the four directions who served as dancers. During sacrifices and when receiving guests, they performed their leisurely music dances. The Yue Shi was in charge of teaching young nobles to dance with feathers while playing the yue flute. During sacrifices, they performed dances with feathers and yue flutes; The same was done during banquets for guests."
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五經通義曰：「王者之樂有先後者，各尚其德也。以文得之，先文樂，持羽毛而舞；以武得之，先武舞，持朱干玉戚，所以增威武也。戚，斧；干，楯也。玉取其德，干取其仁，明當尚德行仁，以斷斬也。」又曰：「東夷之樂持矛舞，助時生也；南夷之樂持羽舞，助時養也；西夷之樂持鉞舞，助時殺也；北夷之樂持干舞，助時藏也。」 |
| | Wu Jing Tong Yi says: "The music of the Son of Heaven has a sequence, each emphasizing its virtue. If one attained power through civil virtues, then civil music was performed first, with dancers holding feathers; if one attained power through military might, martial dances were performed first, holding red shields and jade axes, to enhance majesty and valor. Qi refers to an axe; Gan is a shield. Jade symbolizes virtue, and the shield represents benevolence; this signifies that one should value virtue and practice benevolence in order to make decisive judgments." It also says: "The music of the eastern Yi people involved holding spears while dancing, assisting in promoting growth; the music of the southern Yi people used feather dances to assist timely nurturing; the music of the western Yi people performed axe dances, assisting in timely killing; and the music of the northern Yi people used shield dances to assist in timely storage."
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蔡邕月令章句曰：「天子省風以作樂，所以節八音而行八風。天子八佾，諸侯六，大夫四，士二。佾，舞列也，每佾八人。每服冕而執戚，有俯仰張翕之容，行綴長短之制，所以受命而歌王者之功也。人之動而有節者莫若舞，肆舞所以動陽氣而導物也。」 |
| | Cai Yong's Yue Ling Zhang Ju says: "The Son of Heaven observed the winds to compose music, in order to regulate the eight tones and harmonize with the eight winds. The Son of Heaven had eight rows of dancers (eight yi), feudal lords six, high officials four, and commoners two. Yi refers to a row of dancers; each yi consists of eight people. Each dancer, wearing ceremonial caps and holding axes, displayed postures of bowing, rising, expanding, and contracting; the length of their steps followed established rules. This was to receive the mandate and sing praises of the Son of Heaven's achievements. Among human movements with rhythm, none is superior to dance; thus, dancing stirs yang energy and guides the growth of things."
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