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The Shijing 詩經 or "Book of songs" is one of the traditional Confucian classics. It is a collection of three different types of songs originating in the Shang 商 (17th to 11th cent. BC) and the early and middle Zhou period 周 (11th. cent.-221 BC), in 305 chapters. Of 6 chapters only the names are preserved (Nangai 南陔, Baihua 白華, Huashu 華黍, Yougeng 由庚, Chongqiu 崇丘, and Youyi 由儀).
The three types of songs are feng 風 "airs", ya 雅 "odes", and song 頌 "hymns". The 160 airs are arranged according to the state where they originate from (hence called guofeng 國風 "airs from the states"). The odes are divided into major (daya 大雅) and minor odes (xiaoya 小雅) and arranged in decades (shi 什). The hymns are religious chants sung in the ancestral temples of the states of Zhou 周, which was the royal house, as well as Lu 魯, the home state of Confucius, and the house of Shang 商 whose descendants lived in the state of Song 宋. The airs of the states are folksongs, often concered with a love theme. The odes are said to come from the aristocratic class, the major odes being sung at the royal court, the minor odes at the court of the feudal lords. The songs collected in the Shijing are not only a high literary value as the oldest songs in China but they also reveal a lot of the actvities of different social strata in early China.
The oldest sources say the once the court of the Zhou dynasty ordered the collection of folksongs from among the empire, quite similar to what the Han dynasty 漢 (206 BC-220 AD) did later with the establishment of the Music Bureau (yuefu 樂府). This is how the airs came into being. The odes wre instead are said to have been submitted by their composers to the throne directly. The Shijing has ever been said to contain 300 chapters, a corpus which was compiled by Confucius 孔子 who chose the best from more than 3,000 songs. In reality the comilation of the Shi corpus, as it was called in earliest times, began in the 6th century BCE. It might be that the compilation took place in Lu, the home state of Confucius, which was famous for its musical tradition. That the "songs" were music and not poems is revealed by numerous sources. The oldest parts are said to be the hymns from Zhou and the major odes, written in the early decades of the Zhou period. The minor odes and a part of the major odes were probably written in the late Western Zhou period. The largest part of the airs and the hymns of Lu and Shang were only written during the Spring and Autumn period.
There must have been other types of songs (altogher six, the liushi 六詩) of which no examples are preserved, namely the types of fu 賦 "straightforward" (which during the Han period reappears as prose rhapsody), bi 比 "simile, parable", and xing 興 "with introduction". The great Tang period 唐 (618-907) commentator Kong Yingda 孔穎達 interpretes those terms in the following way: feng, ya and song are designations for certain external compositional forms, while fu, bi and xing were designations for certain methods how the content of the poem was approached (together the liuyi 六義 "six meanings"). During the Han period, when only the four designations of feng, daya, xiaoya and song were used, they were interpreted as the four beginnings (sishi 四始) describing the flourishing and decline of the royal house of Zhou. A very good example for the xing type is the air Guanju 關雎, an example for the bi type is the air Shuoshu 碩鼠, an example for the fu type is the air Qiyue 七月.
Especially the hymns, but also the odes, can also be used as historiographic sources for the late Shang and early Zhou periods. Informations about institutional history, leisuretime activities of the upper class, as well as the hardships of the life of ordinary people can be found. Many of the airs are simple love songs, the most famous of which is the first song of the Shijing.
Very typically for the airs, but also some of the minor odes, is the repetition of verses in each of the stanzas, a phenomenon which is known in the west in poems of the rondo type, but also in many folksongs. Another phenomenon very common in the airs are double rhymes (dieyun 疊韻, like in the verse yao tiao shu nü 窈窕淑女), multiple or special readings (shuangsheng 雙聲, like in the verse cen ci [instead of cancha] xing cai 參差荇菜) and repeated words (diezi 疊字, like in the verses feng yu qi qi, ji ming jie jie 風雨凄凄，鷄鳴喈喈). A large part of the verses has four syllables, especially among the airs. The songs in the Shijing are the oldest example for regular poems which later became so popular.
From a linguistic viewpoint the rhymes of the songs are an important help for the reconstruction of the archaic Chinese language.
The Shijing had always attracted the interest of all groups of persons. Confucius once said that without the Shijing there was nothing to talk about. With many examples from the Shijing he even educated his disciples.
During the so-called literary inquisition under the First Emperor of Qin 秦始皇 (r. 246/221-210 BCE) the Shijinglishu 隸書) and were thus considered so-called new texts, while the Shijing of Mao – the Maoshi 毛詩 – was written in ancient characters and thus from the old text tradition. For the Qi, Lu and Han versions there were professors (boshi 博士 "erudites") established at the imperial academy, which means that those versions were the imperially acknowledged ones. The Lu version was already lost in the 4rd century CE, the Han version survived until the end of the Northern Song period 北宋 (960-1126). A kind of commentary to the Han version has survived, the Hanshi waizhuan 韓氏外傳, which has been treated as a sub-classic writing since. The Qi version was lost during the 3rd century. The Mao version had been transmitted by descendants of Zixia 子夏, a disciple of Confucius. Mao Heng 毛亨 and Mao Chang 毛萇 introduced this version of the Shijing to Han period scholars but it only obtained official status during the Later Han period (25-220 AD) and was revised and commented by Zheng Zhong 鄭眾, Jia Kui 賈逵, Ma Rong 馬融 and Zheng Xuan 鄭玄. The latter wrote a commentary called Maoshi zhuanjian 毛詩傳箋. After the Han period the Mao version was the only surviving version.
During the Tang period 唐 (618-907) Kong Yingda 孔穎達 wrote his famous commentary Maoshi zhengyi 毛詩正義 "The true meaning of the Shijing". The great Neo-Confucian scholar Zhu Xi 朱熹 assembled all Song period 宋 (960-1279) commentaries on the < i>Maoshi and published them as Shijizhuan 詩集傳.
All poems have a small preface (xiaoxu 小序), the first poem has a Great Preface (Daxu 大序).
Sources:
Yin Falu 陰法魯 (1992). "Shijing 詩經", in: Zhongguo da baike quanshu 中國大百科全書, Zhongguo lishi 中國歷史, vol. 2, pp. 921 f. Beijing/Shanghai: Zhongguo da baike quanshu chubanshe.
Wang Xiandu 汪賢度 (1986). "Shijing 詩經", in: Zhongguo da baike quanshu 中國大百科全書, Zhongguo wenxue 中國文學, vol. 2, p. 728-731. Beijing/Shanghai: Zhongguo da baike quanshu chubanshe.
| Contents |
1.-160. 國風 Airs of the States 1-160
(for the location of the particular states, see also the map of Western Zhou)
1.-11. 周南 Airs South of Zhou 1-11
12.-25. 召南 Airs South of Shao 1-14
26.-44. 邶 Airs of Bei 1-18
45.-54. 鄘 Airs of Yong 1-10
55.-64. 衛 Airs of Wey 1-10
65.-74. 王 Airs of the Royal Domain 1-10
75.-95. 鄭 Airs of Zheng 1-21
96.-106. 齊 Airs of Qi 1-11
107.-113. 魏 Airs of Wei 1-7
114.-125. 唐 Airs of Tang 1-12
126.-135. 秦 Airs of Qin 1-10
136.-145. 陳 Airs of Chen 1-10
146.-149. 檜 Airs of Gui 1-4
150.-153. 曹 Airs of Cao 1-4
154.-160. 豳 Airs of Bin 1-7
161.-234. 小雅 Minor Odes 1-74
-- 161.-170. 鹿鳴之什 Luming Decade Deer Cry
-- 171.-180. 南有嘉魚之什 Nan you jiayu Decade In the South there are Lucky Fish
-- 181.-190. 鴻鴈之什 Hongyan Decade Wild-Geese
-- 191.-200. 節南山之什 Jienanshan Decade High-Crested Southern Hills
-- 201.-210. 谷風之什 Gufeng Decade Valley Wind
-- 211.-220. 甫田之什 Futian Decade Large Field
-- 221.-234. 魚藻之什 Yuzao Decade Fish and Water-Plants
235.-265. 大雅 Major Odes 1-31
-- 235.-244. 文王之什 Wenwang Decade King Wen
-- 245.-254. 生民之什 Shengmin Decade Birth to the People
-- 255.-265. 蕩之什 Tang Decade Mighty
266.-305. 頌 Hymns 1-40
266.-296. 周頌 Hymns of Zhou 1-31
-- 266.-275. 清廟之什 Qingmiao Decade Hallowed Temple
-- 276.-285. 臣工之什 Chengong Decade Servants and Officers
-- 286.-296. 閔予小子之什 Min yu xiaozi Decade Pity Me, Your Child
297.-300. 魯頌 Hymns of Lu 1-4
301.-305. 商頌 Hymns of Shang 1-5
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Exemplarious translation:
Examples of lyrics or songs from each of the four sections. The first song of the Shijing is probably the most famous and most commented poem of old China. The Great and Small Preface to this song are translated too, as well as the begin of the Tang time Wujing Zhengyi 五經正義 commentary.
- 大序
風，風也，教也。風以動之，教以化之。詩者，志之所之也。在心為志。發言為詩。情動於中，而形於言。 言之不足，故嗟歎。嗟歎之不足，故永歌之。永歌之不足知，手之，舞之，足之，蹈之也。情發於聲，聲成文，謂之音。 治世之音安以樂，其政和。亂世之音怨以怒，其政乖。亡國之音哀以思，其民困。故正得失，動天地，感鬼神，莫近於詩。先王以是經夫婦，成孝敬，厚人倫，美教化，移風俗。
故詩有六義晏：一曰風，二曰賦，三曰比，四曰興，五曰雅，六曰頌。 上以風化下，下以風刺上。主文而譎諫，言之者無罪，聞之者足以戒，故曰風。至於王道衰，禮義廢，政教失，國異政，家殊俗，而變風，變雅作矣。
國史明乎得失之跡，傷人倫之廢，哀刑政之苛，詠吟情性，以風其上。達於事變，而懷其舊俗者也。故變風發乎情， 止乎禮義。發乎情，民之性也。止乎禮義，先王之澤也。是以一國之事，繫一人之本，謂之風。言天下之事，形四方之風，謂之雅。
雅者，正也。言王政之所由廢興也。政有小大，故有小雅焉，有大雅焉。頌者，美盛德之形容。以其成功，告於神明者也。
是謂四始，詩之至也。然則《關雎》、《麟趾》之化，王者之風。故繫之周公。《南》言，化自北而南也。《鵲巢》、《騶虞》之德，諸侯之風也。 先王之所以教，故繫之召公。周南、召南，正始之道，王化之基。
The Great Preface
"Air" means "wind" or "educating". The airs move people and make them better. Songs are, where the mind is going to. In the heart, it is called "mind", spoken out, it is called "song". The motion is moved in the heart and takes shape in words; if words are not sufficent, sighing can be better; if sighing is not sufficient, songs can be better; if songs are still not sufficient, motions can be expressed with hands, by dancing, with feet, by springing. Motions are expressed by voice; if voice forms words, it is called tone. The tone regulating the world, pacifies by music, its rule is harmonious. The tone disturbing the world, heates the anger, its rule is obstinate. The tone destroying a country is sad in thoughts, its people is in difficulties. Correct behaviour receives the lost, it moves heaven and earth, it makes sympathetic all ghosts and deities. To acheive this, nothing is better than songs. The old kings employed songs to have guidelines for the matrimony, to complete filialty and reverence, to enforce human relationships, to beautify cultivation, and to make better people's customs.
There are six different kinds of songs: airs (feng), rhapsodies (fu), comparisons (bi), moods (xing), odes (ya) and hymns (song). The ruling people use the airs to ameliorate their subjects, the subjects use the airs to criticize the ruling. They rely on words to admonish with some small hints. The speakers thus are not to be blamed, and the auditors are enabled to change their behaviour. This is why these songs are called "wind". When the way of the kings has become weak, when rites and etiquette are thrown away, when politics and education missed their target, when the state has altered its government, when the families have given up their good customs, this is, when airs and odes have to change and make things better.
The scribes of the states enlighten cases of lost virtue, of damaging human relationships, of giving up penal law and government; they chant and sing of motions and good character to educate the rulers. If it has come so far that things alter, people already weep for their old rules and customs. Therefore, the changing airs begin in the motions and reach to the rites and etiquette. Starting with motions means, that they come from the people. Reaching to rites and etiquette means, that the airs are the reflected glory of the old kings. If the affairs of one state are bound to every single person, songs are called "airs", and if all affairs under heaven are built up from the airs of all states, songs are called "odes".
"Ode" means, "to rectify". It gives the reason why moods in a ruler's government is thrown away. There are great and small matters in government, and adequately we find Maior and Minor Odes. "Hymn" means, to beautify the description of a flourishing virtue. It declares the success of a virtuous government to the deities.
These are the four beginnings, and where songs have its aim. The educational target of the "Guan the ospreys cry" and "Unicorn's hoofs" airs is the king, and they are connected to the duke of Zhou. "South" means, that education goes from north to south. The airs "Magpie's nest" and "The zouyu tiger" are written for the feudal lords and were used by the former kings for educational purposes. They are connected to the Duke of Shao. The airs of the chapters "South of Zhou" and "South of Shao" are the way of the correct begin, they are the base for an ideal government.
１．國風１．１．周南１．１．１．關雎（１）
關關雎鳩，在河之洲。窈窕淑女，君子好逑。
參差荇菜，左右流之。窈窕淑女，寤寐求之。
求之不得，寤寐思服。悠哉悠哉！輾轉反側。
參差荇菜，左右采之。窈窕淑女，琴瑟友之。
參差荇菜，左右芼之。窈窕淑女，鍾鼓樂之。
The Airs of the States, South of Zhou, The ospreys cry
"Fair, fair," cry the ospreys on the island in the river. Lovely is this noble lady, fit bride for our lord.
In patches grows the water mallow; to left and right one must seek it. Shy was this noble lady; day and night he sought her.
Sought her and could not get her; day and night he grieved. Long thoughts, oh, long unhappy thoughts, now on his back, now tossing on to his side.
In patches grows the water mallow; to left and right one must gather it. Shy is this noble lady; with great zither and little we hearten her.
In patches grows the water mallow; to left and right one must choose it. Shy is this noble lady; with bells and drums we will gladden her.
- 關雎小序
《關雎》，后妃之德也。風之始也。所以風天下而正夫婦也。故用之鄉人焉，用之邦國焉。
(Small Preface 1st part:) The song '"Fair', cry the ospreys", expresses the virtue of the ruler's consort. It is the first of the airs. The airs are like a wind to blowing over the earth and serve to rectify the relationship between man and woman. They can be employed for all people in the villages and in all states.
是以《關雎》樂得淑女以配君子。愛在進賢，不淫其色，哀窈窕，思賢才，而無傷善之心焉。是《關雎》之義也。
(Small Preface 2nd part:) The music of the "Ospreys" air says, that a noble lady has to be the consort of a noble man. Love comes up because of growing worthiness, not because of sensual pleasures. Her lovelyness causes the noble man's pity, he thinks of her virtual abilites, and he does not hurt her good heart. This is the meaning of the first air.
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五經正義
興也。「關關」，和聲也。雎鳩，王雎也。鳥摯而有別。水中可居者曰「洲」。 后妃說（悅）樂君子之德。無不和諧，又不淫其色。慎固幽深，若關雎之有別焉。然後可以風化天下。夫婦有別，則父子親。父子親，則君臣敬。君臣敬，則朝廷正。朝廷正，則王化成。《箋》云：「摯之言，至也。謂王雎之鳥，雌雄情意至。然而有別。」案：興，是譬喻之名。意有不盡。故提曰「興」。他皆放此。...
The Real Meaning of the Five Classics
An air with a mood-laden initiation. Guanguan ("Fair, fair") is an expression of harmony (guan also means "relationship"). The osprey is a symbol for the King. The birds have cordial feelings to each other, but they follow a different way. Zhou means "islet". The consort should be glad about a noble man's virtue; nothing between them shall not be in harmony, and they should not indulge in sensual pleasures. Their love shall be cautious, steadfast, deep and not outgoing, just like the different ways of the (male and female) osprey in this air. If the noble ruler and his consort behave like this, the world can be made better. If man and woman live according to their different ways, father and son have their different position in relationship, ruler and subject respect each other, the court behaves in a correct way, and only then, the exemplarious virtue of the king is complete. (Zheng Xuan's) jian commentary says: "'Cordial' means, that they are coming to each other, concretely spoken: although the feelings of male and female osprey are coming together, they follow a different way." Note: Mood-laden initiation (xing) is a metaphor with many different meanings. Fitting to this air, the title "mood-laden initiation" is appropriate. Everything else has its origin in this air.
２．小雅２．１．鹿鳴之什２．１．１．鹿鳴（１６１）
呦呦鹿鳴，食野之苹。我有嘉賓，鼓瑟吹笙。
吹笙鼓簧，承筐是將。人之好我，示我周行。
呦呦鹿鳴，食野之蒿。我有嘉賓，德音孔昭。
視民不恌，君子是則是傚。我有旨酒，嘉賓式燕以敖。
呦呦鹿鳴，食野之芩。我有嘉賓，鼓瑟鼓琴。
鼓瑟鼓琴，和樂且湛。我有旨酒，以燕樂嘉賓之心。
The Minor Odes, 1st Decade, The deer cry
Hoo, hoo, cry the deer nibbling the black southernwood in the fields. I have a lucky guest. Let me play my zither, blow my reed-organ.
Blow my reed-organ, trill their tongues, take up the baskets of offerings. Here is a man that loves me and will teach me the ways of Zhou.
Hoo, hoo, cry the deer nibbling the white southernwood of the fields. I have a lucky guest, whose fair fame is very bright.
He sees to it that the common people do not waver, of all gentlemen he is the pattern and example. I have good wine; let my lucky guest now feast and play.
Hoo, hoo, cry the deer nibbling the wild garlic of the fields. I have a lucky guest. I play my zithers, small and big.
Play my zithers, small and big. Let us make music together, let us be merry, for I have good wine to comfort and delight the heart of a lucky guest.
３．大雅３．１．文王之十３．１．９．下武（２４３）
下武維周，世有哲王。三后在天，王配于京。
王配于京，世德作求。永言配命，成王之孚。
成王之孚，下土之式。永言孝思，孝思維則。
媚茲一人，應侯順德。永言孝思，昭哉嗣服。
昭茲來許，繩其祖武。於萬斯年，受天之祜。
受天之祜，四方來賀。於萬斯年，不遐有佐。
The Major Odes, 1st Decade, Footsteps here below
Zhou it is that continues the footsteps here below. From generation to generation it has had wise kings. Three rulers are in Heaven (Wen, Wu and Cheng), and the king (Kang) is their counterpart in his capital.
He is their counterpart in his capital, the power of generations he has matched; long has he been mated to Heaven's command and fulfilled what is entrusted to a king.
Has fulfilled what is entrusted to a king, a model to all on earth below; forever pious toward the dead, a very pattern of piety.
Loved is this One Man, meeting only with docile powers; forever pious toward the dead, gloriously continuing their tasks.
Yes, gloriously he steps forward continuing in the footsteps of his ancestors. "For myriads of years may you receive Heaven's blessing!
Receive Heaven's blessing!" So from all sides they come to wish him well. "For myriads of years may your luck never fail!"
４．頌４．１．周頌４．１．１．清廟之什４．１．１．１．清廟（２６６）
於穆清廟，肅雝顯相。濟濟多士，秉文之德。
對越在天，駿奔走在廟。不顯不承﹖無射於人斯。
Hymns, Zhou Hymns, 1st Decade, The hallowed temple
Solemn is the hallowed temple, awed and silent the helpers, well purified the many knights that handle their sacred task.
There has been an answer in Heaven; swiftly they flit through the temple, very bright, very glorious, showing no distaste toward men.
Translated by Burton Watson (songs) and Ulrich Theobald (commentaries).
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Chinese literature according to the four-category system
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