Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1But the note on the first two lines will show that this view cannot be accepted without modification. Oh! yes, king AK#ang? Brightly brought himself near*. Lead your husbandmen To sow their various kinds of grain, Going vigorously to work 1 It is this line which makes it difficult to determine after what sacrifice we are to suppose these instructions to have been delivered. The year, during the Hsia dynasty, began with the first month of spring, as it now does in China, in consequence of Confucius having said that that was the proper time. Under the Shang dynasty, it commenced a month earlier; and during the Kau period, it ought always to have begun with the new moon preceding the winter solstice.—between our November 22 and December 22. But in the writings of the Adu period we find statements of time continually referred to the calendar of Hsia,— as here. * These first two lines are all but unmanageable. The old critics held that there was no mention of king AAing in them; but the text is definite on this point. We must suppose that a special service had been performed at his shrine, asking him to intimate the day when the sacrifice after which the instructions were given should be performed; and that a directing oracle hatl been received. [1] ¥ 322 THE SHIH KING, DECADE II. on your private fields!, All over the thirty 11% Attend to your ploughing, With your ten thousand men all in pairs. Ope 3. THe KAvu Lé. CELEBRATING THE REPRESENTATIVES OF FORMER DYNASTIES, WHO HAD COME TO COURT TO ASSIST AT A SACRIFICE IN THE ANCESTRAL TEMPLE. . This piece may have been used when the king was dismissing his distinguished guests in the ancestral temple. See the introductory note to this Part, pp. 300, 3or. A flock of egrets is flying, About the marsh there in the west*. My visitors came, With an (elegant) carriage like those birds. There, (in their states), not disliked, Here, (in Kau), never tired of; —They are sure, day and night, To perpetuate their fame. 1 The mention of ‘the private fields’ implies that there were also ‘the public fields,’ cultivated by the husbandmen in common, in behalf of the government. As the people are elsewhere introduced, wishing that the rain might first fall on ‘the public fields,’ to show their loyalty, so the king here mentions only ‘the private fields,’ to show his sympathy and consideration for the people. ? For the cultivation of the ground, the allotments of single families were separated by a small ditch; ten allotments, by a larger; a hundred, by what we may call a brook; a thousand, by a small stream; and ten thousand, by a river. The space occupied by 10,000 families formed a square of a little more than thirty-two li. We may suppose that this space was intended by the round number of thirty If in the text. So at least Kang Khang-Asing explained it. 8 These two lines make the piece allusive. See the Introduction, p. 279. ODE 5. THE SACRIFICIAL ODES OF KAU. 323 Ope 4. Tue Fano NIen.
2We may suppose that this space was intended by the round number of thirty If in the text. So at least Kang Khang-Asing explained it. 8 These two lines make the piece allusive. See the Introduction, p. 279. ODE 5. THE SACRIFICIAL ODES OF KAU. 323 Ope 4. Tue Fano NIen. AN ODE OF THANKSGIVING FOR A PLENTIFUL YEAR. The Preface says the piece was used at sacrifices in autumn and winter. AQ Hsf calls it an ode of thanksgiving for a good year,—without any specification of time. He supposes, however, that the thanks were given to the ancient Shin-ning, ‘the father of Agriculture,’ H4u-ét, ‘ the first Husbandman,’ and the spirits presiding over the four quarters of the heavens. To this the imperial editors rightly demur, saying that the blessings which the piece speaks of could come only from God. Abundant is the year with much millet and much rice; And we have our high granaries, With myriads, and hundreds of thousands, and millions (of measures in them); For spirits and sweet spirits, To present to our forefathers, male and female, And to supply all our ceremonies. The blessings sent down on us are of every kind. Ope 5. Tue Yb Ko. THE BLIND MUSICIANS OF THE COURT OF KAu ; THE INSTRUMENTS OF MUSIC; AND THEIR HARMONY. The critics agree in holding that this piece was made on occasion of the duke of Kau’s completing his instruments of music for the ancestral temple, and announcing the fact at a grand performance in the temple of king Wan. It can hardly be regarded as a sacrificial ode. There are the blind musicians; there are the blind musicians; In the court of (the temple of) Kau. 1 The blind musicians at the court of A&au were numerous. The blindness of the eyes was supposed to make the ears more acute in hearing, and to be favourable to the powers of the voice. In the Official Book of Xu, III, i, par. 22, the enumeration of Y2 324 THE SHIH KING. DECADE II. There are (the music-frames with their) faceboards and posts, The high toothed-edge (of the former), and the feathers stuck (in the latter); ‘With the drums, large and small, suspended from them ; And the hand-drums and sounding-stones, the instrument to give the signal for commencing, and the stopper. These being all complete, the music is struck up. The pan-pipe and the double flute begin at the same time. Harmoniously blend their sounds; In solemn unison they give forth their notes. Our ancestors will give ear. Our visitors will be there ;—Long to witness the complete performance. Ove 6. THE ASIEN. SUNG IN THE LAST MONTH OF WINTER, AND IN SPRING, WHEN THE KING PRESENTED A FISH IN THE ANCESTRAL TEMPLE.
3Our ancestors will give ear. Our visitors will be there ;—Long to witness the complete performance. Ove 6. THE ASIEN. SUNG IN THE LAST MONTH OF WINTER, AND IN SPRING, WHEN THE KING PRESENTED A FISH IN THE ANCESTRAL TEMPLE. Such is the argument of this piece given in the Preface, and in which the critics generally concur. In the Lt A7, IV, vi, 40, it is recorded that the king, in the third month of winter, gave orders to his chief fisher to commence his duties, and went himself to see his operations. He partook of the fish first captured, but previously presented some as an offering in the back apartment of the ancestral temple. In the third month of spring, again, when the sturgeons began to make their appearance (Lt Ai, IV, i, 25), the king presented one in the same place. On these blind musicians gives 2 directors of the first rank, and 4 of the second; 40 performers of the first grade, roo of the second, and 160 of the third; with 300 assistants who were possessed of vision. But it is difficult not to be somewhat incredulous as to this great collection of blind musicians about the court of Kau. 1 All the instruments here enumerated were performed on in the open court below the hall. Nothing is said of the stringed instruments which were used in the hall itself; nor is the enumeration of the instruments in the courtyard complete. ODE 7. THE SACRIFICIAL ODES OF KAU. 325 these passages, the prefatory notice was, no doubt, constructed. Choice specimens of the earliest-caught fish were presented by the sovereign to his ancestors, as an act of duty, and an acknowledgment that it was to their favour that he and the people were indebted for the supplies of food, which they received from the waters. Oh! in the KAt and the KAii, There are many fish in the warrens ;—Sturgeons, large and snouted, Thryssas, yellow-jaws, mud-fish, and carp ;— For offerings, for sacrifice, That our bright happiness may be increased. Ope 7%. Tue Yuna. APPROPRIATE, PROBABLY, AT A SACRIFICE BY KING wt TO HIS FATHER wAN. From a reference in the Analects, III, ii, to an abuse of this ode in the time of Confucius, we learn that it was sung when the sacrificial vessels and their contents were being removed. They come full of harmony; They are here in all gravity ;—The princes assisting, While the Son of Heaven looks profound. (He says), ‘While I present (this) noble bull, And they assist me in setting forth the sacrifice, O great and august Father, Comfort me, your filial son. ‘With penetrating wisdom thou didst play the man, A sovereign with the gifts both of peace and war, Giving rest even to great Heaven’, And ensuring prosperity to thy descendants.
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.
1But the note on the first two lines will show that this view cannot be accepted without modification. Oh! yes, king AK#ang? Brightly brought himself near*. Lead your husbandmen To sow their various kinds of grain, Going vigorously to work 1 It is this line which makes it difficult to determine after what sacrifice we are to suppose these instructions to have been delivered. The year, during the Hsia dynasty, began with the first month of spring, as it now does in China, in consequence of Confucius having said that that was the proper time. Under the Shang dynasty, it commenced a month earlier; and during the Kau period, it ought always to have begun with the new moon preceding the winter solstice.—between our November 22 and December 22. But in the writings of the Adu period we find statements of time continually referred to the calendar of Hsia,— as here. * These first two lines are all but unmanageable. The old critics held that there was no mention of king AAing in them; but the text is definite on this point. We must suppose that a special service had been performed at his shrine, asking him to intimate the day when the sacrifice after which the instructions were given should be performed; and that a directing oracle hatl been received. [1] ¥ 322 THE SHIH KING, DECADE II. on your private fields!, All over the thirty 11% Attend to your ploughing, With your ten thousand men all in pairs. Ope 3. THe KAvu Lé. CELEBRATING THE REPRESENTATIVES OF FORMER DYNASTIES, WHO HAD COME TO COURT TO ASSIST AT A SACRIFICE IN THE ANCESTRAL TEMPLE. . This piece may have been used when the king was dismissing his distinguished guests in the ancestral temple. See the introductory note to this Part, pp. 300, 3or. A flock of egrets is flying, About the marsh there in the west*. My visitors came, With an (elegant) carriage like those birds. There, (in their states), not disliked, Here, (in Kau), never tired of; —They are sure, day and night, To perpetuate their fame. 1 The mention of ‘the private fields’ implies that there were also ‘the public fields,’ cultivated by the husbandmen in common, in behalf of the government. As the people are elsewhere introduced, wishing that the rain might first fall on ‘the public fields,’ to show their loyalty, so the king here mentions only ‘the private fields,’ to show his sympathy and consideration for the people. ? For the cultivation of the ground, the allotments of single families were separated by a small ditch; ten allotments, by a larger; a hundred, by what we may call a brook; a thousand, by a small stream; and ten thousand, by a river. The space occupied by 10,000 families formed a square of a little more than thirty-two li. We may suppose that this space was intended by the round number of thirty If in the text. So at least Kang Khang-Asing explained it. 8 These two lines make the piece allusive. See the Introduction, p. 279. ODE 5. THE SACRIFICIAL ODES OF KAU. 323 Ope 4. Tue Fano NIen.
2We may suppose that this space was intended by the round number of thirty If in the text. So at least Kang Khang-Asing explained it. 8 These two lines make the piece allusive. See the Introduction, p. 279. ODE 5. THE SACRIFICIAL ODES OF KAU. 323 Ope 4. Tue Fano NIen. AN ODE OF THANKSGIVING FOR A PLENTIFUL YEAR. The Preface says the piece was used at sacrifices in autumn and winter. AQ Hsf calls it an ode of thanksgiving for a good year,—without any specification of time. He supposes, however, that the thanks were given to the ancient Shin-ning, ‘the father of Agriculture,’ H4u-ét, ‘ the first Husbandman,’ and the spirits presiding over the four quarters of the heavens. To this the imperial editors rightly demur, saying that the blessings which the piece speaks of could come only from God. Abundant is the year with much millet and much rice; And we have our high granaries, With myriads, and hundreds of thousands, and millions (of measures in them); For spirits and sweet spirits, To present to our forefathers, male and female, And to supply all our ceremonies. The blessings sent down on us are of every kind. Ope 5. Tue Yb Ko. THE BLIND MUSICIANS OF THE COURT OF KAu ; THE INSTRUMENTS OF MUSIC; AND THEIR HARMONY. The critics agree in holding that this piece was made on occasion of the duke of Kau’s completing his instruments of music for the ancestral temple, and announcing the fact at a grand performance in the temple of king Wan. It can hardly be regarded as a sacrificial ode. There are the blind musicians; there are the blind musicians; In the court of (the temple of) Kau. 1 The blind musicians at the court of A&au were numerous. The blindness of the eyes was supposed to make the ears more acute in hearing, and to be favourable to the powers of the voice. In the Official Book of Xu, III, i, par. 22, the enumeration of Y2 324 THE SHIH KING. DECADE II. There are (the music-frames with their) faceboards and posts, The high toothed-edge (of the former), and the feathers stuck (in the latter); ‘With the drums, large and small, suspended from them ; And the hand-drums and sounding-stones, the instrument to give the signal for commencing, and the stopper. These being all complete, the music is struck up. The pan-pipe and the double flute begin at the same time. Harmoniously blend their sounds; In solemn unison they give forth their notes. Our ancestors will give ear. Our visitors will be there ;—Long to witness the complete performance. Ove 6. THE ASIEN. SUNG IN THE LAST MONTH OF WINTER, AND IN SPRING, WHEN THE KING PRESENTED A FISH IN THE ANCESTRAL TEMPLE.
3Our ancestors will give ear. Our visitors will be there ;—Long to witness the complete performance. Ove 6. THE ASIEN. SUNG IN THE LAST MONTH OF WINTER, AND IN SPRING, WHEN THE KING PRESENTED A FISH IN THE ANCESTRAL TEMPLE. Such is the argument of this piece given in the Preface, and in which the critics generally concur. In the Lt A7, IV, vi, 40, it is recorded that the king, in the third month of winter, gave orders to his chief fisher to commence his duties, and went himself to see his operations. He partook of the fish first captured, but previously presented some as an offering in the back apartment of the ancestral temple. In the third month of spring, again, when the sturgeons began to make their appearance (Lt Ai, IV, i, 25), the king presented one in the same place. On these blind musicians gives 2 directors of the first rank, and 4 of the second; 40 performers of the first grade, roo of the second, and 160 of the third; with 300 assistants who were possessed of vision. But it is difficult not to be somewhat incredulous as to this great collection of blind musicians about the court of Kau. 1 All the instruments here enumerated were performed on in the open court below the hall. Nothing is said of the stringed instruments which were used in the hall itself; nor is the enumeration of the instruments in the courtyard complete. ODE 7. THE SACRIFICIAL ODES OF KAU. 325 these passages, the prefatory notice was, no doubt, constructed. Choice specimens of the earliest-caught fish were presented by the sovereign to his ancestors, as an act of duty, and an acknowledgment that it was to their favour that he and the people were indebted for the supplies of food, which they received from the waters. Oh! in the KAt and the KAii, There are many fish in the warrens ;—Sturgeons, large and snouted, Thryssas, yellow-jaws, mud-fish, and carp ;— For offerings, for sacrifice, That our bright happiness may be increased. Ope 7%. Tue Yuna. APPROPRIATE, PROBABLY, AT A SACRIFICE BY KING wt TO HIS FATHER wAN. From a reference in the Analects, III, ii, to an abuse of this ode in the time of Confucius, we learn that it was sung when the sacrificial vessels and their contents were being removed. They come full of harmony; They are here in all gravity ;—The princes assisting, While the Son of Heaven looks profound. (He says), ‘While I present (this) noble bull, And they assist me in setting forth the sacrifice, O great and august Father, Comfort me, your filial son. ‘With penetrating wisdom thou didst play the man, A sovereign with the gifts both of peace and war, Giving rest even to great Heaven’, And ensuring prosperity to thy descendants.
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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