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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1303 I, Tue SacririctaL Opes oF SHANG. Tuese odes of Shang constitute the last Book in the ordinary editions of the Shih. I put them here in the first place, because they are the oldest pieces in the collection. There are only five of them. The sovereigns of the dynasty of Shang occupied the throne from B.C. 1766 to 1123. They traced their lineage to Hsieh, who appears in the Shi as Minister of Instruction to Shun. By Y4o or by Shun, Hsieh was invested with the principality of Shang, corresponding to the small department which is so named in Shen-hsf. Fourteenth in descent from him came Thien-yi, better known as King Thang, or Thang the Successful, who dethroned the last descendant of the line of Hsia, and became the founder of a new dynasty. We meet with him first at a considerable distance from the ancestral fief (which, however, gave name to the dynasty), having as his capital the southern Po, which seems correctly referred to the present district of Shang- ‘hid, in the department of Kwei-teh, Ho-nan. Among the twenty-seven sovereigns who followed Thang, there were three especially distinguished :—Thai Xia, his grandson and successor (B.c. 1753 to 1721), who received the title of Thai Sung; Thai Miu (8.c. 1637 to 1563), canonized as Aung 3ung; and Wating (B.c. 1324 to 1266), known as K4o Sung. The shrines of these three sovereigns and that of Thang retained their places in the ancestral temple ever after they were first set up, and if all the sacrificial odes of the dynasty had been preserved, most of them would have been in praise of one or other of the four. But it so happened that at least all the odes of which Thai 3ung was the subject were lost; and of the others we have only the small portion that has been mentioned above. . Of how it is that we have even these, we have the following account in the Narratives of the States, compiled, probably, by a contemporary of Confucius. The count of Wei was made duke of Sung by king WQ of X4u, as related in the Shf, V, viii, there to continue the sacrifices of the House of Shang; but the government of Sung fell subsequently into disorder, and the memorials of the dynasty were lost. In the time of duke T4i (B.c. 799 to 766), one of his ministers, Xing-kh4o, an ancestor of Confucius, received from the Grand Music-Master at the court of Xau twelve 304 THE SHIH KING. ODE I. of the sacrificial odes of Shang with which he returned to Sung, where they were used in sacrificing to the old Shang kings. It is supposed that seven of these were lost subsequently, before the collection of the Shih was formed. Ove 1. Tue NA} APPROPRIATE TO A SACRIFICE TO THANG, THE FOUNDER OF THE SHANG DYNASTY, DWELLING ESPECIALLY ON THE MUSIC AND THE REVERENCE WITH WHICH THE SACRIFICE WAS PERFORMED.
2It is supposed that seven of these were lost subsequently, before the collection of the Shih was formed. Ove 1. Tue NA} APPROPRIATE TO A SACRIFICE TO THANG, THE FOUNDER OF THE SHANG DYNASTY, DWELLING ESPECIALLY ON THE MUSIC AND THE REVERENCE WITH WHICH THE SACRIFICE WAS PERFORMED. We cannot tell by which of the kings of Shang the sacrifice here referred to was first performed. He is simply spoken of as ‘a descendant of Thang.’ The ode seems to have been composed by some one, probably a member of the royal House, who had taken part in the service. How admirable! how complete! Here are set our hand-drums and drums. The drums resound harmonious and loud, To delight our meritorious ancestor ?. The descendant of Thang invites him with this music, That he may soothe us with the realization of our thoughts*. Deep is the sound of our hand- 1 The piece is called the N&, because a character so named is an important part of the first line. So generally the pieces in the Shih receive their names from a character or phrase occurring in them. This point will not be again touched on. * The ‘meritorious ancestor’ is Thang. The sacrifices of the Shang dynasty commenced with music; those of the A4au with libations of fragrant spirits ;—in both cases with the same object, to attract the spirit, or spirits, sacrificed to, and secure their presence at the service. hin H&o (Ming dynasty) says, ‘The departed spirits hover between heaven and earth, and sound goes forth, filling the region of the air. Hence in sacrificing, the people of Yin began with a performance of music.’ ’ The Lf Ai, XXIV, i, parr. 2, 3, tells us, that the sacrificer, as preliminary to the service, had to fast for some days, and to think of the person of his ancestor,—where he had stood and sat, how he had smiled and spoken, what had been his cherished aims, ODE 2. THE SACRIFICIAL ODES OF SHANG. 505 drums and drums; Shrilly sound the flutes; All harmonious and blending together, According to the notes of the sonorous gem. Oh! majestic is the descendant of Thang; Very admirable is his music. The large bells and drums fill the ear; The various dances are grandly performed!. We have the admirable visitors?, Who are pleased and delighted. From of old, before our time, The former men set us the example ;—How to be mild and humble from morning to night, And to be reverent in discharging the service. May he regard our sacrifices of winter and autumn’, (Thus) offered by the descendant of Thang! Ope 2. Tue Lieu 36. PROBABLY LIKE THE LAST ODE, APPROPRIATE TO A SACRIFICE TO THANG, DWELLING ON THE SPIRITS, THE SOUP, AND THE GRAVITY OF THE SERVICE, AND ON THE ASSISTING PRINCES. Neither can we tell by which of the kings of Shang this ode was first used. A( Hsi says that the object of the sacrifice was Thang. The Preface assigns it to Thai M4u, the Xung 3ung, or second of the three ‘honoured ones.’ But there is not a
3Neither can we tell by which of the kings of Shang this ode was first used. A( Hsi says that the object of the sacrifice was Thang. The Preface assigns it to Thai M4u, the Xung 3ung, or second of the three ‘honoured ones.’ But there is not a pleasures, and delights; and on the third day he would have a complete image of him in his mind’s eye. Then on the day of sacrifice, when he entered the temple, he would seem to see him in his shrine, and to hear him, as he went about in the discharge of the service. This line seems to indicate the realization ofall this, * Dancing thus entered into the service as an accompaniment of the music. Two terms are employed; one denoting the movements appropriate to a dance of war, the other those appropriate to a dance of peace. * The visitors would be the representatives of the lines of Hsia, Shun, and Y4o. * Two of the seasonal sacrifices are thus specified, by synecdoche, for all the four. (t] x 306 THE SHIH KING. ODE 2. word in praise of Kung 3ung, and the ‘meritorious ancestor’ of the first line is not to be got over. Still more clearly than in the case of the former ode does this appear to have been made by some one who had taken part in the service, for in line 4 he addresses the sacrificing king as ‘ you.’ Ah! ah! our meritorious ancestor! Permanent are the blessings coming from him, Repeatedly conferred without end ;—They have come to you in this place. The clear spirits are in our vessels, And there is granted to us the realization of our thoughts. There are also the well-tempered soups, Prepared beforehand, with the ingredients rightly proportioned. By these offerings we invite his presence, without a word, Without (unseemly) contention (among the worshippers). He will bless us with the eyebrows of longevity, With the grey hair and wrinkled face in unlimited degree. With the naves of their wheels bound with leather, and their ornamented yokes, With the eight bells at their horses’ bits all tinkling, (The princes) come to assist at the offerings’. We have received the appointment in all its greatness, And from Heaven is our prosperity sent down, Fruitful years of great abundance. (Our ancestor) will come and enjoy (our offerings), And confer on us happiness without limit. May he regard our sacrifices of winter and autumn, (Thus) offered by the descendant of Thang! 1 These lines are descriptive of the feudal princes, who were present and assisted at the sacrificial service. The chariot of each was drawn by four horses yoked abreast, two insides and two outsides, on each side of the bits of which small bells were attached. ODE 3. THE SACRIFICIAL ODES OF SHANG. 307 Ope 3. THe Hsttan NiAo. APPROPRIATE TO A SACRIFICE IN THE ANCESTRAL TEMPLE OF SHANG ;— INTENDED SPECIALLY TO DO HONOUR TO THE KING wO-TING.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1303 I, Tue SacririctaL Opes oF SHANG. Tuese odes of Shang constitute the last Book in the ordinary editions of the Shih. I put them here in the first place, because they are the oldest pieces in the collection. There are only five of them. The sovereigns of the dynasty of Shang occupied the throne from B.C. 1766 to 1123. They traced their lineage to Hsieh, who appears in the Shi as Minister of Instruction to Shun. By Y4o or by Shun, Hsieh was invested with the principality of Shang, corresponding to the small department which is so named in Shen-hsf. Fourteenth in descent from him came Thien-yi, better known as King Thang, or Thang the Successful, who dethroned the last descendant of the line of Hsia, and became the founder of a new dynasty. We meet with him first at a considerable distance from the ancestral fief (which, however, gave name to the dynasty), having as his capital the southern Po, which seems correctly referred to the present district of Shang- ‘hid, in the department of Kwei-teh, Ho-nan. Among the twenty-seven sovereigns who followed Thang, there were three especially distinguished :—Thai Xia, his grandson and successor (B.c. 1753 to 1721), who received the title of Thai Sung; Thai Miu (8.c. 1637 to 1563), canonized as Aung 3ung; and Wating (B.c. 1324 to 1266), known as K4o Sung. The shrines of these three sovereigns and that of Thang retained their places in the ancestral temple ever after they were first set up, and if all the sacrificial odes of the dynasty had been preserved, most of them would have been in praise of one or other of the four. But it so happened that at least all the odes of which Thai 3ung was the subject were lost; and of the others we have only the small portion that has been mentioned above. . Of how it is that we have even these, we have the following account in the Narratives of the States, compiled, probably, by a contemporary of Confucius. The count of Wei was made duke of Sung by king WQ of X4u, as related in the Shf, V, viii, there to continue the sacrifices of the House of Shang; but the government of Sung fell subsequently into disorder, and the memorials of the dynasty were lost. In the time of duke T4i (B.c. 799 to 766), one of his ministers, Xing-kh4o, an ancestor of Confucius, received from the Grand Music-Master at the court of Xau twelve 304 THE SHIH KING. ODE I. of the sacrificial odes of Shang with which he returned to Sung, where they were used in sacrificing to the old Shang kings. It is supposed that seven of these were lost subsequently, before the collection of the Shih was formed. Ove 1. Tue NA} APPROPRIATE TO A SACRIFICE TO THANG, THE FOUNDER OF THE SHANG DYNASTY, DWELLING ESPECIALLY ON THE MUSIC AND THE REVERENCE WITH WHICH THE SACRIFICE WAS PERFORMED.
2It is supposed that seven of these were lost subsequently, before the collection of the Shih was formed. Ove 1. Tue NA} APPROPRIATE TO A SACRIFICE TO THANG, THE FOUNDER OF THE SHANG DYNASTY, DWELLING ESPECIALLY ON THE MUSIC AND THE REVERENCE WITH WHICH THE SACRIFICE WAS PERFORMED. We cannot tell by which of the kings of Shang the sacrifice here referred to was first performed. He is simply spoken of as ‘a descendant of Thang.’ The ode seems to have been composed by some one, probably a member of the royal House, who had taken part in the service. How admirable! how complete! Here are set our hand-drums and drums. The drums resound harmonious and loud, To delight our meritorious ancestor ?. The descendant of Thang invites him with this music, That he may soothe us with the realization of our thoughts*. Deep is the sound of our hand- 1 The piece is called the N&, because a character so named is an important part of the first line. So generally the pieces in the Shih receive their names from a character or phrase occurring in them. This point will not be again touched on. * The ‘meritorious ancestor’ is Thang. The sacrifices of the Shang dynasty commenced with music; those of the A4au with libations of fragrant spirits ;—in both cases with the same object, to attract the spirit, or spirits, sacrificed to, and secure their presence at the service. hin H&o (Ming dynasty) says, ‘The departed spirits hover between heaven and earth, and sound goes forth, filling the region of the air. Hence in sacrificing, the people of Yin began with a performance of music.’ ’ The Lf Ai, XXIV, i, parr. 2, 3, tells us, that the sacrificer, as preliminary to the service, had to fast for some days, and to think of the person of his ancestor,—where he had stood and sat, how he had smiled and spoken, what had been his cherished aims, ODE 2. THE SACRIFICIAL ODES OF SHANG. 505 drums and drums; Shrilly sound the flutes; All harmonious and blending together, According to the notes of the sonorous gem. Oh! majestic is the descendant of Thang; Very admirable is his music. The large bells and drums fill the ear; The various dances are grandly performed!. We have the admirable visitors?, Who are pleased and delighted. From of old, before our time, The former men set us the example ;—How to be mild and humble from morning to night, And to be reverent in discharging the service. May he regard our sacrifices of winter and autumn’, (Thus) offered by the descendant of Thang! Ope 2. Tue Lieu 36. PROBABLY LIKE THE LAST ODE, APPROPRIATE TO A SACRIFICE TO THANG, DWELLING ON THE SPIRITS, THE SOUP, AND THE GRAVITY OF THE SERVICE, AND ON THE ASSISTING PRINCES. Neither can we tell by which of the kings of Shang this ode was first used. A( Hsi says that the object of the sacrifice was Thang. The Preface assigns it to Thai M4u, the Xung 3ung, or second of the three ‘honoured ones.’ But there is not a
3Neither can we tell by which of the kings of Shang this ode was first used. A( Hsi says that the object of the sacrifice was Thang. The Preface assigns it to Thai M4u, the Xung 3ung, or second of the three ‘honoured ones.’ But there is not a pleasures, and delights; and on the third day he would have a complete image of him in his mind’s eye. Then on the day of sacrifice, when he entered the temple, he would seem to see him in his shrine, and to hear him, as he went about in the discharge of the service. This line seems to indicate the realization ofall this, * Dancing thus entered into the service as an accompaniment of the music. Two terms are employed; one denoting the movements appropriate to a dance of war, the other those appropriate to a dance of peace. * The visitors would be the representatives of the lines of Hsia, Shun, and Y4o. * Two of the seasonal sacrifices are thus specified, by synecdoche, for all the four. (t] x 306 THE SHIH KING. ODE 2. word in praise of Kung 3ung, and the ‘meritorious ancestor’ of the first line is not to be got over. Still more clearly than in the case of the former ode does this appear to have been made by some one who had taken part in the service, for in line 4 he addresses the sacrificing king as ‘ you.’ Ah! ah! our meritorious ancestor! Permanent are the blessings coming from him, Repeatedly conferred without end ;—They have come to you in this place. The clear spirits are in our vessels, And there is granted to us the realization of our thoughts. There are also the well-tempered soups, Prepared beforehand, with the ingredients rightly proportioned. By these offerings we invite his presence, without a word, Without (unseemly) contention (among the worshippers). He will bless us with the eyebrows of longevity, With the grey hair and wrinkled face in unlimited degree. With the naves of their wheels bound with leather, and their ornamented yokes, With the eight bells at their horses’ bits all tinkling, (The princes) come to assist at the offerings’. We have received the appointment in all its greatness, And from Heaven is our prosperity sent down, Fruitful years of great abundance. (Our ancestor) will come and enjoy (our offerings), And confer on us happiness without limit. May he regard our sacrifices of winter and autumn, (Thus) offered by the descendant of Thang! 1 These lines are descriptive of the feudal princes, who were present and assisted at the sacrificial service. The chariot of each was drawn by four horses yoked abreast, two insides and two outsides, on each side of the bits of which small bells were attached. ODE 3. THE SACRIFICIAL ODES OF SHANG. 307 Ope 3. THe Hsttan NiAo. APPROPRIATE TO A SACRIFICE IN THE ANCESTRAL TEMPLE OF SHANG ;— INTENDED SPECIALLY TO DO HONOUR TO THE KING wO-TING.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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