1
《傳》曰：「王者功成作樂，治定制禮。」 豈二帝三王之彌文哉！ 蓋有天下者，將一軌度、正民俗、合人神、和上下，舍禮樂何以焉。 金初得宋，始有金石之樂，然而未盡其美也。 及乎大定、明昌之際，日修月葺，粲然大備。 其隸太常者，即郊廟、祀享、大宴、大朝會宮縣二舞是也。 隸教坊者，則有鐃歌鼓吹，天子行幸鹵簿導引之樂也。 有散樂。 有渤海樂。 有本國舊音，世宗嘗寫其意度為雅曲，史錄其一，其俚者弗載雲。
The Classic says: "When a true king has completed his great work, he composes music; when governance is settled, he establishes ritual." Surely this is no mere ornamental excess of the Two Emperors and Three Kings! Whoever holds the realm must unify standards, set custom right, join spirits and humans, and harmonize high and low — without ritual and music, how could any of this be achieved? When the Jin first conquered the Song, they acquired bell-and-chime music for the first time, but its full refinement was still lacking. By the Dading and Mingchang eras, the court refined the system day by day and month by month until the musical establishment stood complete in splendid array. Music under the Court of Imperial Sacrifices comprised the palace ensemble and the two ritual dances used at suburban and temple sacrifices, sacrificial offerings, great banquets, and major court assemblies. The Music Bureau oversaw gong songs and wind-and-drum ensembles — the music that led the imperial procession whenever the Son of Heaven traveled. There was also variety music. There was Bohai music as well. There were also the old melodies of the Jin homeland. Emperor Shizong once transcribed their modes into formal court music; the histories preserve one such piece, while vulgar tunes were deliberately left unrecorded.
2
明昌五年，詔用唐、宋故事，置所，講議禮樂。 有司謂：「雅樂自周、漢以來止存大法，魏、晉而後更造律度，訖無定論。 至後周保定中，得古玉鬥於地中，以造尺律，其後牛弘以為不可，止用蘇綽鐵尺，至隋亦用之。 唐興，因隋樂不改，及黃巢之亂，樂縣散失，太常博士殷盈孫以周法鑄穀鐘、編鐘，處士蕭承訓等校石磐，合而奏之。 至周顯德以黍定律，議者謂比唐樂高五律。 宋初亦用王朴所制樂，時和峴以周顯德律音近哀思，乃依西京銅望臬、石尺重造十二管，取聲下王樸一律。 景祐初，李照取黍累尺成律，以其聲猶高，更用太府布帛尺，遂下太常樂三律。 皇祐中，阮逸、胡瑗改造止下一律，或謂其聲弇鬱不和，依舊用王朴樂。 元豐間，楊傑參用李照鐘磬加四清聲，下王朴樂二律，以為新樂。 元祐間，範鎮又造新律，下李照樂一律，而未用。 至崇甯間，魏漢津以範鎮知舊樂之高，無法以下之，乃以時君指節為尺，其所造鐘磐即今所用樂是也。 然以王樸所制聲高，屢命改作，李照乙太府尺制律，人習舊聽疑於太重。 其後范鎮等論樂，複用李照所用太府尺、即周、隋所用鐵尺，牛弘等以謂近古合宜者也。 今取見有樂，以唐初開元錢校其分寸亦同，則漢津所用指尺殆與周、隋、唐所用之尺同矣。 漢津用李照、範鎮之說，而恥同之，故用時君指節為尺，使眾人不敢輕議。 其尺雖為詭說，其制乃與古同，而清濁高下皆適中，非出於法數之外私意妄為者也。 蓋今之鐘磬雖崇寧之所制，亦周、隋、唐之樂也。 閱今所用樂律，聲調和平，無太高太下之失，可以久用。 唯辰鐘、辰磬自昔數缺，宜補鑄辰鐘十五，辰磬二十一，通舊各為二十四虡。」 上曰：「嘗觀宋人論樂，以為律主於人聲，不當泥於其器，要之在聲和而已。」 於是，命禮部符下南京，取宋舊工，更鑄辰鐘十有二。 又以舊鐘姑洗、夷則皆高五律，無射高二律，別鑄以補之，乃協。 又琢辰磬各十有二，以其半少劣，擇其諧者而用之。 初，正隆間，海陵營太廟於汴，貞祐南遷，宣宗修之，以祔諸帝神主。 其地，故宋景靈宮之址也。 掘其下，得編鐘十三，編磬八，皆刻「大晟」字。 時朝廷多故，禮器散亡，竟亦不能備也，
In the fifth year of Mingchang, the court decreed that Tang and Song precedents be followed, established an office, and convened discussions on ritual and music. The responsible officials reported: "From Zhou and Han onward, formal music preserved only the broad principles; after Wei and Jin, courts repeatedly remade pitch standards, yet no lasting consensus was ever reached. In the Baoding era of Later Zhou, an ancient jade bushel measure was unearthed and used to derive the foot-rule and pitch pipes; later Niu Hong rejected this method, and courts used only Su Chuo's iron foot-rule — a standard the Sui dynasty also adopted. When the Tang rose, they retained Sui music unchanged. During Huang Chao's rebellion the court instruments were scattered and lost. The Court of Imperial Sacrifices academician Yin Yingsun recast grain bells and chime-bells by Zhou methods, while the reclusive scholar Xiao Chengxun and others retuned stone chimes, and the restored ensemble was played together once more. Under Later Zhou's Xiande reign, pitch was derived from millet grains; critics said the new standard stood five notes higher than Tang music. Early Song likewise used music composed by Wang Pu. He Xian argued that the Xiande pitch sounded too mournful, so he remade the twelve pipes according to the Western Capital's bronze pitch-standard and stone foot-rule, lowering the pitch one note below Wang Pu's standard. At the start of the Jingyou era, Li Zhao derived pitch pipes from a millet-based foot-rule; finding the tone still too high, he switched to the Grand Storehouse cloth-and-silk foot-rule and lowered Court of Imperial Sacrifices music by three notes. During Huangyou, Ruan Yi and Hu Yuan revised the standard again, lowering it by only one note; some complained that the tone was muffled and discordant, so the court reverted to Wang Pu's music. During Yuanfeng, Yang Jie adapted Li Zhao's bells and chimes, added four clear tones, lowered Wang Pu's standard by two notes, and established this as the new court music. During Yuanyou, Fan Zhen devised yet another pitch standard, one note lower than Li Zhao's, but it was never adopted. By the Chongning era, Wei Hanjin recognized that Fan Zhen knew the old music was too high yet had no practical way to lower it, so he took the reigning emperor's finger joints as the foot-rule; the bells and chimes he cast are the instruments in use today. Because Wang Pu's music sounded too high, the court repeatedly ordered revisions. Li Zhao followed the Grand Storehouse foot-rule to set pitch, but listeners accustomed to the old standard thought the new tone too low and dull. Later Fan Zhen and others debated music and revived Li Zhao's Grand Storehouse foot-rule — the same iron standard used in Zhou and Sui times — which Niu Hong and others had regarded as close to antiquity and therefore appropriate. When the music now in use is measured against early Tang Kaiyuan coins, the dimensions match as well; Wei Hanjin's finger-joint foot-rule was therefore probably the same standard used in Zhou, Sui, and Tang times. Hanjin drew on Li Zhao's and Fan Zhen's theories yet was unwilling to appear merely to follow them, so he took the reigning emperor's finger joints as the foot-rule so that critics would not dismiss his work lightly. Although his foot-rule rested on a specious pretext, the resulting system matched antiquity, and its clear and muddy tones, high and low pitches, were all properly balanced — not the product of arbitrary private whim outside proper numerical standards. Thus today's bells and chimes, though cast in the Chongning era, are in substance the music of Zhou, Sui, and Tang. Reviewing the pitch standard now in use, the tone is harmonious and balanced, neither too high nor too low, and may be retained for long-term use. Only the chen bells and chen chimes have long been incomplete in number; the court should recast fifteen chen bells and twenty-one chen chimes so that, together with the old instruments, each set totals twenty-four stands." The emperor said: "I have read Song debates on music and believe that pitch standards should follow the human voice rather than cling rigidly to instruments; what matters above all is harmonious sound." He then ordered the Ministry of Rites to dispatch instructions to Nanjing, summon former Song craftsmen, and recast twelve chen bells. Because the old Guxian and Yize bells were each five notes too high and the Wushe bell two notes too high, the court cast replacements to fill the gaps, and the ensemble came into harmony. They also carved twelve chen chimes apiece; since roughly half were slightly inferior in tone, they selected the best-sounding pieces for use. Earlier, during the Zhenglong era, Prince Hailing built the Imperial Ancestral Temple at Bian. After the court moved south in the Zhenyou period, Emperor Xuanzong restored the temple to receive the spirit tablets of the former emperors. The site had been that of the Song dynasty's Jingling Palace. Excavation below the site yielded thirteen chime-bells and eight chime-stones, all inscribed with the mark "Dasheng." The court was then beset by many troubles, ritual vessels had been scattered and lost, and in the end the ensemble could not be made complete,
3
大定十一年，太常議：「按《唐會耍》舊制，南北郊宮縣用二十架，周、漢、魏、晉、宋、齊六朝及唐《開元》、宋《開寶禮》，其數皆同。 《宋會耍》用三十六架，《五禮新儀》用四十八架，其數多，似乎太侈。 今擬《太常因革禮》，天子宮縣之樂三十六虡，宗廟與殿庭同，郊丘則二十虡，宜用宮縣二十架，登歌編鐘、編磬各一虡。 又按《周禮大司樂》：'凡樂，圜鐘為宮，黃鐘為角，太蔟為徵，姑洗為羽。 雷鼓、雷鞀、孤竹之管、雲和之琴瑟、雲門之舞，冬日至於地上之圜丘奏之，若樂六變，則天神皆降，可得而禮矣。 '六變，謂六成也。 唐、宋因之。 蓋圜鐘，夾鐘也，用為宮者以上應房、心，有天帝明堂之象也。 宮聲三奏，角徵羽各一奏，合陽之奇數，欲神聽之也。 凡樂起于陽，至少陰而止，圜鐘自卯至申其數有六，故六變而樂止，則天神皆降，可得而禮也。 樂曲之名，唐以'和'，宋以'安'，本朝定樂曲以'甯'為名，今止有太廟祫享樂曲，而郊祀樂曲未備。 皇統九年拜天用《乾甯之曲》，今圜丘降神固可就用。 今太廟祫享，皇帝升降行止奏《昌甯之曲》，迎俎奏《豐甯之曲》，酌獻、舞出入奏《肅甯之曲》，飲福奏《福甯之曲》，宋《開寶禮》亦可就用。 余有郊祀曲名，皇帝入中濆、奠玉幣、迎俎、酌獻、舞出入樂曲，宜皆以'寧'字制名。」 遂命學士院撰焉。 皇帝入中濆奏《昌甯之曲》，降神、送神奏《乾甯之曲》，昊天上帝奏《洪甯之曲》，皇地祇奏《坤甯之曲》，配位奏《永甯之曲》，飲福奏《福甯之曲》，升降、望燎、出入大小次，並與入中濆同，餘載儀注及樂章。 又命太常議文武二舞所當先後，太常議：「按唐、宋郊廟之禮，並先文後武，本朝自行禘祫之禮亦然。 惟唐韋萬石建議謂先儒相傳，以揖讓得天下則先奏文，以征伐得天下則先奏武。 當時雖從，尋複改之。 其以《開元禮》先文後武為定。 方丘如圜丘之儀，社稷則用登歌。」
In the eleventh year of Dading, the Court of Imperial Sacrifices reported: "According to the Tang Huiyao, the palace ensemble for the southern and northern suburban sacrifices used twenty stands; Zhou, Han, Wei, Jin, Song, and Qi, as well as the Tang Kaiyuan Rites and Song Kaibao Rites, all prescribed the same number. The Song Huiyao prescribed thirty-six stands and the Wuli Xinyi forty-eight — numbers that seem excessively lavish by comparison. Following the Taichang Yingeli, the Son of Heaven's palace ensemble comprises thirty-six stands for ancestral temple and palace hall alike, while suburban mounds use twenty — the court should therefore employ a palace ensemble of twenty stands, with elevated song, chime-bells, and chime-stones each occupying one stand. The Zhouli Director of Music also states: "In all music, the round bell serves as gong, huangzhong as jue, taicu as zhi, and guxian as yu." Thunder drums, thunder tambourines, solitary bamboo pipes, Yunhe zithers, and the Yunmen dance are performed at the round mound altar on the winter solstice; when the music undergoes six changes, the heavenly spirits descend and may be received in ritual. "Six changes" means six complete performances. Tang and Song followed the same practice. The round bell is jiazhong; employed as gong, it corresponds above to the lodges Fang and Xin and evokes the Bright Hall of the Heavenly Emperor. The gong tone is played three times, while jue, zhi, and yu are each played once — an odd-numbered pattern of yang tones meant to draw the spirits' attention. All music begins in yang and ends at least yin; the round bell spans from mao to shen in six stages, so after six changes the music ceases, the heavenly spirits descend, and ritual reception becomes possible. Tang named ritual pieces with "He," Song with "An," and our dynasty adopted "Ning"; at present only the Imperial Ancestral Temple joint-offering pieces exist, while suburban sacrifice pieces are still incomplete. In the ninth year of Huangtong, the worship of Heaven used the "Qianning" piece, which can certainly be reused for the round mound's descent-of-spirit rite. At the Imperial Ancestral Temple joint offering, the emperor's ascent, descent, movement, and pauses are accompanied by "Changning"; welcoming the offering stand by "Fengning"; libation, offering, and dancers' entry and exit by "Suning"; and drinking the blessing by "Funing" — pieces that may likewise be drawn from the Song Kaibao Rites. The remaining suburban sacrifice pieces — for the emperor's entry to the inner precinct, presentation of jade and silk, welcoming the offering stand, libation, and dancers' entry and exit — should all be named with "Ning." The emperor then ordered the Hanlin Academy to compose them. The emperor's entry to the inner precinct was accompanied by "Changning"; descent and sending off of the spirit by "Qianning"; August Heaven on High by "Hongning"; August Earth by "Kunning"; associated positions by "Yongning"; and drinking the blessing by "Funing"; ascent, descent, gazing at the burning, and movement between the great and small resting places followed the same piece as entry to the inner precinct. The remaining details are recorded in the ritual protocols and hymn texts. He also ordered the Court of Imperial Sacrifices to decide the order of the civil and military dances. The Court reported: "Tang and Song suburban and temple rites both placed the civil dance before the military, and our dynasty's own di and xia offerings follow the same order. Only Wei Wanshi of Tang argued, following early Confucian tradition, that courts which gained the realm through yielding should play the civil dance first, while those that gained it through conquest should play the military dance first. The court briefly followed his proposal but soon reverted. They therefore fixed civil before military as prescribed in the Kaiyuan Rites. The square mound follows the round mound's protocol, while the altars of soil and grain use elevated song alone."
4
宗廟。 皇帝入門，宮縣以無射宮，升殿，登歌以夾鐘，皆奏《昌甯之曲》。 迎神、送神奏《來甯之曲》，九成。 天德二年，晨稞畢，還小次，方奏迎神曲。 大定十一年，朝享，奏依《開元》、《開寶禮》，至版位，即奏黃鐘宮三、大呂角二、太蔟徵二、應鐘羽二，曲詞皆同。 進俎，奏《豐甯之曲》。 酌獻，宮縣奏無射《大元之曲》。 諸室之曲，德帝曰《大熙》，安帝曰《大安》，獻祖曰《大昭》，昭祖曰《大成》，景祖曰《大昌》，世祖曰《大武》，肅宗曰《大明》，穆宗曰《大章》，康宗曰《大康》，太祖曰《大定》，太宗曰《大惠》，熙宗曰《大同》，睿宗曰《大和》，昭德皇后廟曰《儀坤》，世宗曰《大鈞》，顯宗曰《大寧》，章宗曰《大隆》，宣宗曰《大慶》。 皇帝還版位及亞終獻，皆奏無射宮《肅甯之曲》。 飲福，登歌奏夾鐘宮《福甯之曲》。 徹豆，奏《豐甯之曲》，皆用無射宮。 大定十二年制，祫禘時享有司攝事，初獻盥洗，奏無射宮《肅甯之曲》。 升階，登歌奏夾鐘宮《嘉甯之曲》。 餘並與親享同。 其別廟昭德皇后、宣孝太子所用，並載儀注、樂章。
Imperial Ancestral Temple. When the emperor entered the gate, the palace ensemble played in the wushe mode; when he ascended the hall, elevated song used jiazhong — both occasions accompanied by "Changning." Welcoming and sending off the spirit were accompanied by the nine-part "Laining" piece. In the second year of Tiande, the spirit-welcoming piece was not played until after the morning offering had been completed and the emperor had returned to the small resting place. In the eleventh year of Dading, at the court offering, music followed the Kaiyuan and Kaibao Rites; upon reaching the spirit tablet, the ensemble played huangzhong gong three times, dalü jue twice, taicu zhi twice, and yingzhong yu twice, all to the same hymn text. When the offering stand was brought forward, the court played "Fengning." For the libation offering, the palace ensemble played the wushe-mode "Dayuan" piece. Each spirit chamber had its own piece: Emperor De, "Daxi"; Emperor An, "Da'an"; Ancestor Xian, "Dazhao"; Ancestor Zhao, "Dacheng"; Ancestor Jing, "Dachang"; Ancestor Shi, "Dawu"; Emperor Suzong, "Daming"; Emperor Muzong, "Dazhang"; Emperor Kangzong, "Dakang"; Emperor Taizu, "Dading"; Emperor Taizong, "Dahui"; Emperor Xizong, "Datong"; Emperor Ruizong, "Dahe"; the Temple of Empress Zhaode, "Yikun"; Emperor Shizong, "Dajun"; Emperor Xianzong, "Daning"; Emperor Zhangzong, "Dalong"; and Emperor Xuanzong, "Daqing." When the emperor returned to the spirit tablet and for the secondary and final offerings, the wushe-mode "Suning" piece was played throughout. For drinking the blessing, elevated song played the jiazhong-mode "Funing" piece. For removing the beans, the court played "Fengning," all in wushe mode. Under regulations issued in the twelfth year of Dading, when officials performed the joint di and xia offering by proxy, the wushe-mode "Suning" piece accompanied the first offering's hand-washing. When ascending the steps, elevated song played the jiazhong-mode "Jianing" piece. Everything else followed the same order as when the emperor performed the rite in person. The music used at the separate temples of Empress Zhaode and the Filial and Cultivated Crown Prince is recorded in the ritual protocols and hymn texts.
5
舊制，太廟、皇考廟樂工各三十九人。 大定二十九年，升祔顯宗，有司以為：「宋之太廟、別廟，堂上樂各四十八人，今之樂工少十八人，擬令皇考廟舊樂工皆充兩廟堂上樂，以應前代九十六人之數。」 尚書省議：「古樂工無定數。」 遂奏太廟、別廟通以百人為定。 明昌六年，創設宮縣，樂工一百五十六人。 承安三年，敕：「祭廟用教坊奏古樂，非禮也。 其自今召百姓材美者，給以食直，教閱以待用。」 泰和元年，命宮縣樂工月給錢粟二貫石，遇正樂工闕，驗色收補。 四年，尚書省奏：「宮縣樂工總用二百五十六人，而舊所設止百人，時或用之即以貼部教坊閱習。 自明昌間，以渤海教坊兼習，而又創設九十二人。 且宮縣之樂行大禮乃始用之，若其數複闕，但前期遣漢人教坊及大興府樂人習之，亦可備用。」 遂詔罷創設者。 宣宗南遷，祔諸帝主於汴京太廟。 禮官言：「祔享禮畢，車駕還宮，至承天門外，百官奉迎，宮縣奏《采茨》。」 以樂虡未備，遂止用教坊樂。 哀宗遷蔡，天興二年七月丁巳，太祖、太宗及後妃禦容至自汴京，奉安於乾元寺。 左宣徽使溫敦七十五奏當用樂。 上曰：「樂須太常，奈何？」 七十五曰：「市有優樂，可假用之。」 權左右司員外郎王鶚奏曰：「世俗之樂，豈可施於帝王之前？」 遂止。
Under the old system, the Imperial Ancestral Temple and the Imperial Father's Temple each employed thirty-nine musicians. In the twenty-ninth year of Dading, when Emperor Xianzong was elevated for joint enshrinement, officials reported: "Song's Imperial Ancestral Temple and separate temples each employed forty-eight hall musicians, whereas we are now eighteen short; we propose assigning all musicians from the Imperial Father's Temple to both temples' hall ensembles to match the former dynasty's total of ninety-six." The Ministry of Revenue replied: "In antiquity musicians had no fixed number." The court then fixed the combined musicians of the Imperial Ancestral Temple and separate temples at one hundred. In the sixth year of Mingchang, the court newly established a palace ensemble of one hundred fifty-six musicians. In the third year of Cheng'an, an edict declared: "Employing the Music Bureau to perform ancient music at temple sacrifices violates ritual propriety. Henceforth the court should recruit talented commoners, provide them food allowances, and train them for future service." In the first year of Taihe, palace ensemble musicians were granted two strings of cash and two shi of grain per month; when regular posts fell vacant, candidates were examined and recruited to fill them. In the fourth year, the Ministry of Revenue reported: "The palace ensemble requires two hundred fifty-six musicians in all, yet the old establishment numbered only one hundred; when needed, musicians were temporarily drawn from the Music Bureau for training. From the Mingchang period onward, the Bohai Music Bureau trained musicians jointly, and ninety-two additional posts were created. Moreover, palace ensemble music is employed only for the greatest state rites; if numbers again fall short, the court can beforehand assign Han musicians from the Music Bureau and musicians of Daxing Prefecture to rehearse and stand ready." The court then abolished the newly created posts. When Emperor Xuanzong moved south, he enshrined the spirit tablets of the former emperors in the Bianjing Imperial Ancestral Temple. Ritual officials reported: "After the joint enshrinement rite, when the imperial carriage returns to the palace and reaches the Chengtian Gate, the officials should welcome it while the palace ensemble plays 'Caici.'" Because the musical stands were incomplete, the court had to rely on Music Bureau music instead. When Emperor Aizong moved to Cai, on a dingsi day in the seventh month of the second year of Tianxing, the imperial portraits of Taizu, Taizong, and the empresses arrived from Bianjing and were installed at Qianyuan Temple. The Left Commissioner of the Palace Domestic Service Wendor Qiwushi memorialized that music should be performed. The emperor said: "Music must come from the Court of Imperial Sacrifices — what can we do?" Qiwushi replied: "There are actors and musicians in the market who could be borrowed for the occasion." Acting Left and Right Department vice director Wang E objected: "How can vulgar popular music be performed before emperors?" The proposal was dropped.
6
樂舞名數。 太廟登歌，鐘一虡，磬一虡，歌工四，籥二，塤二，篪二，笛二，巢笙二，和笙二，簫二，七星匏一，九耀匏一，閏餘匏一，搏拊二，柷一，敔一，麾一，一弦琴、三弦琴、五弦琴、七弦琴、九弦琴各二，瑟四。 別廟登歌並同。 親祠則用金鐘、玉磬，攝祭則用編鐘、編磬。 宮縣樂三十六虡：編鐘十二虡，編磬十二虡，大鐘、穀鐘、特磬各四虡。 建鼓、應鼓、鞞鼓各四，路鼓二，路鞀二，晉鼓一，巢笙、竽笙各十，簫十，籥十，篪十，笛十，塤八，一弦琴三，三弦、五弦、七弦、九弦琴各六，瑟十二，柷一，敔一，麾一。 文舞所執籥、翟各六十四，武舞所執硃幹、玉戚各六十四，引舞所執旌二，纛二，牙杖二，單鞀二，單鐸二，雙鐸二，金鐃二，金錞二，金鉦二，相鼓二，雅鼓二。 有司攝祭，宮縣二十虡：編鐘四，編磬四，辰鐘十二。 建鼓四，路鼓四，路鞀二，晉鼓一，巢笙、竽笙、簫、塤、篪、笛各八，一弦琴三，三弦、五弦、七弦、九弦琴各六，瑟八，柷、敔各一，麾一。 登歌及二舞引舞所執與親祠同。
Names and numbers of musical instruments and dancers. For Imperial Ancestral Temple elevated song: one stand of bells, one stand of chimes, four singers, two yue pipes, two xun ocarinas, two chi flutes, two di flutes, two nest sheng, two he sheng, two xiao flutes, one seven-star gourd pipe, one nine-glory gourd pipe, one intercalary-remainder gourd pipe, two clappers, one sounding-wood, one scraper, one baton, two each of one-, three-, five-, seven-, and nine-string zithers, and four se zithers. Separate temples used the same elevated-song ensemble. When the emperor sacrificed in person, golden bells and jade chimes were used; when officials performed by proxy, chime-bells and chime-stones were used instead. The palace ensemble comprised thirty-six stands: twelve of chime-bells, twelve of chime-stones, and four each of great bells, grain bells, and special chimes. It also included four each of establishment drums, response drums, and leather drums; two road drums and two road tambourines; one Jin drum; ten each of nest sheng and yu sheng; ten xiao, ten yue, ten chi, ten di, and eight xun; three one-string zithers and six each of three-, five-, seven-, and nine-string zithers; twelve se zithers; and one sounding-wood, one scraper, and one baton. Civil dancers carried sixty-four yue pipes and sixty-four pheasant-feather staffs apiece; military dancers carried sixty-four vermilion staffs and sixty-four jade axes apiece; leading dancers carried two banners, two great banners, two ivory staffs, two single tambourines, two single bells, two double bells, two golden nao, two golden chun, two golden zheng, two xiang drums, and two ya drums. When officials performed sacrifices by proxy, the palace ensemble used twenty stands: four of chime-bells, four of chime-stones, and twelve chen bells. The proxy ensemble also included four establishment drums, four road drums, two road tambourines, one Jin drum, eight each of nest sheng, yu sheng, xiao, xun, chi, and di, three one-string zithers, six each of three-, five-, seven-, and nine-string zithers, eight se zithers, one sounding-wood, one scraper, and one baton. Elevated song and the implements carried by the leading dancers of the two ritual dances were the same as for sacrifices performed by the emperor in person.
7
皇帝受冊寶。 前期，大樂令與協律郎設樂縣於殿廷。 又設舉麾位二，一於殿西階，一于樂縣西北。 又設登歌樂架於殿上。 至日，侍中奏：「外辦。」 宮縣樂作，皇帝乃出，即坐，樂止。 奉寶入門，樂作，置褥位上，樂止。 初引時宮縣樂作，至位立定，樂止。 寶初行，樂作，至御前置訖，樂止。 皇帝受寶訖，樂作，侍中奏：「稱賀。」 樂止。 皇太子升殿，登歌樂作，復位，樂止。 侍中奏：「禮畢。」 宮縣樂作，皇帝還幕次，樂止。
The Emperor Receives the Seal and Regalia. Beforehand, the Director of Great Music and the Pitch-Regulating Gentleman set up the musical stands in the palace courtyard. They also established two baton-raising positions, one at the hall's western steps and one northwest of the musical stands. They also set up the elevated-song music frame inside the hall. On the appointed day, the attendant-in-chief reported: "The outer preparations are complete." The palace ensemble began to play; the emperor then emerged, took his seat, and the music ceased. When the regalia was brought through the gate, music began; once it was placed on the cushion seat, the music stopped. When the regalia was first led forward, the palace ensemble played; once it reached its position and stood still, the music stopped. When the regalia first moved forward, music began; once it had been set before the imperial seat, the music stopped. After the emperor had received the regalia, music began and the attendant-in-chief announced: "Offer congratulations." The music then stopped. The crown prince ascended the hall to elevated song; when he returned to his place, the music stopped. The attendant-in-chief reported: "The rite is complete." The palace ensemble played as the emperor returned to the curtain pavilion, and the music stopped.
8
禦樓宣赦。 前期，大樂署設宮縣於樓下，又設鼓一于宮縣之左。 至日，金雞初立，大樂署擊鼓，立訖，鼓止。 侍中奏：「外辦。」 大樂令撞黃鐘之鐘，右五鐘皆應，《昌甯之樂》作，皇帝乃出。 宣讀訖，百官舞蹈，禮畢，大樂令撞蕤賓之鐘，左五鐘皆應，《昌甯之樂》作，皇帝降座，樂止。 凡皇帝出入升降及分班合班，皆樂作，坐、立定乃止。 其冊命中宮、皇太子、太孫，受外國使賀。 宴外國使，皆用宮縣。
Announcing Amnesty from the Imperial Tower. Beforehand, the Office of Great Music set up the palace ensemble below the tower and placed one drum to its left. On the appointed day, when the golden rooster was first raised, the Office of Great Music struck the drum; once the raising was complete, the drumming stopped. The attendant-in-chief reported: "The outer preparations are complete." The Director of Great Music struck the huangzhong bell; the five bells to the right answered in turn; "Changning" began to play, and the emperor emerged. After the amnesty had been read aloud, the officials performed the ritual dance. When the rite was complete, the Director of Great Music struck the ruibin bell; the five bells to the left answered; "Changning" played again as the emperor left his seat, and the music stopped. Whenever the emperor entered, exited, ascended, descended, or formed and re-formed ranks, music played and ceased only once he was seated or standing still. The same applied to investitures of the empress, crown prince, and imperial great-grandson, and to receptions of congratulations from foreign envoys. Banquets for foreign envoys all employed the palace ensemble.
9
元日、聖誕稱賀，曲宴外國使，則教坊奏之。 其樂器名曲不傳。 皇統二年宰臣奏：「自古並無伶人赴朝參之例，所有教坊人員只宜聽候宣喚，不合同百寮赴起居。」 從之。 章宗明昌二年十一月甲寅，禁伶人不得以歷代帝王為戲及稱萬歲者，以不應為事重法科。 泰和初，有司又奏太常工人數少，即以渤海，漢人教坊及大興府樂人兼習以備用。
On New Year's Day, imperial birthday congratulations, and informal banquets for foreign envoys, the Music Bureau performed instead. The names of their instruments and pieces have not been preserved. In the second year of Huangtong the chief ministers reported: "Never in antiquity have actors attended court audience; Music Bureau personnel should await summons only and should not join the hundred officials at the imperial levee." The court approved. On a jiayin day in the eleventh month of the second year of Mingchang, Emperor Zhangzong forbade actors from portraying emperors of past dynasties in jest or shouting "ten thousand years," imposing heavy penalties under the statute for impermissible conduct. Early in the Taihe era, officials again reported that Court of Imperial Sacrifices musicians were too few, and assigned musicians from the Bohai and Han Music Bureaus and from Daxing Prefecture to train jointly as reserves.
10
鼓吹樂
Wind-and-Drum Music.
11
馬上樂也。 天子鼓吹、橫吹各有前、後部，部又各分二節。 金初用遼故物，其後雜用宋儀。 海陵遷燕及大定十一年鹵簿，皆分鼓吹為四節，其他行幸惟用兩部而已。
This was music performed on horseback. The Son of Heaven's wind music and transverse wind music each had front and rear sections, and each section was further divided into two parts. Early Jin used Liao legacy equipment; later the court blended in Song protocols as well. When Prince Hailing moved the capital to Yan and in the eleventh year of Dading for the full imperial procession, wind music was divided into four sections; on other tours only two sections were used.
12
△前部第一：
Front Section, First Part:
13
鼓吹令二人
Directors of wind music: two.
14
掆鼓十二金鉦十二
Shoulder drums: twelve; golden zheng: twelve.
15
大鼓百二十長鳴百二十
Great drums: one hundred twenty; long-sounding pipes: one hundred twenty.
16
鐃鼓一十二歌二十四
Nao drums: twelve; singers: twenty-four.
17
拱辰管二十四簫二十四
Gongchen pipes: twenty-four; xiao flutes: twenty-four.
18
笳二十四大橫吹一百二十
Jia horns: twenty-four; great transverse winds: one hundred twenty.
19
△前部第二：
Front Section, Second Part:
20
節鼓二笛二十四
Measure drums: two; di flutes: twenty-four.
21
簫二十四篳篥二十四
Xiao flutes: twenty-four; bili pipes: twenty-four.
22
笳二十四桃皮篳篥二十四
Jia horns: twenty-four; peach-bark bili: twenty-four.
23
掆鼓十二金鉦十二
Shoulder drums: twelve; golden zheng: twelve.
24
小鼓百二十中鳴百二十
Small drums: one hundred twenty; mid-sounding pipes: one hundred twenty.
25
羽葆鼓十二歌二十四
Plumed-canopy drums: twelve; singers: twenty-four.
26
拱辰管十四簫二十四
Gongchen pipes: fourteen; xiao flutes: twenty-four.
27
△後部第一：
Rear Section, First Part:
28
鼓吹丞二人
Deputy directors of wind music: two.
29
掆鼓三金鉦三
Shoulder drums: three; golden zheng: three.
30
羽葆鼓十二歌二十四
Plumed-canopy drums: twelve; singers: twenty-four.
31
拱辰管二十四簫二十四
Gongchen pipes: twenty-four; xiao flutes: twenty-four.
32
笳二十四節鼓二
Jia horns: twenty-four; measure drums: two.
33
鐃鼓十二歌十六
Nao drums: twelve; singers: sixteen.
34
簫二十四笳二十四
Xiao flutes: twenty-four; jia horns: twenty-four.
35
小橫吹百二十
Small transverse winds: one hundred twenty.
36
△後部第二：
Rear Section, Second Part:
37
笛二十四簫二十四
Di flutes: twenty-four; xiao flutes: twenty-four.
38
篳篥二十四笳二十四
Bili pipes: twenty-four; jia horns: twenty-four.
39
桃皮篳篥二十四
Peach-bark bili: twenty-four.
40
本朝樂曲
Court Music of the Jin Dynasty.
41
世宗大定九年十一月庚申，皇太子生日，上宴於東宮，命奏新聲，謂大臣曰：「朕制此曲，名《君臣樂》，今天下無事，與卿等共之，不亦樂乎？」 辭律不傳。 十三年四月乙亥，上禦睿思殿，命歌者歌女直詞，顧謂皇太子曰：「朕思先朝所行之事，未嘗暫忘，故時聽此詞，亦欲令汝輩知女直醇質之風。 至於文字、語言或不通曉，是忘本也！」 二十五年四月，幸上京，宴宗室于皇武殿，飲酒樂，上諭之曰：「今日甚欲成醉，此樂不易得也。 昔漢高祖過故鄉，與父老歡飲，擊築而歌，令諸兒和之。 彼起布衣，尚且如是，況我祖宗世有此土，今天下一統，朕巡幸至此，何不樂飲！」 于時宗室婦女起舞，進酒畢，群臣故老起舞，上曰：「吾來故鄉數月矣，今回期已近，未嘗有一人歌本曲者，汝曹來前，吾為汝歌。」 乃命宗室子敘坐殿下者皆上殿，面聽上歌。 曲道祖宗創業艱難，及所以繼述之意。 上既自歌，至慨想祖宗音容如睹之語，悲感不復能成聲，歌畢，泣下數行。 右丞相元忠暨群臣宗戚捧觴上壽，皆稱萬歲。 於是諸老人更歌本曲，如私家相會，暢然歡洽。 上複續調歌曲，留坐一更，極歡而罷。 其辭曰：
On a gengshen day in the eleventh month of the ninth year of Dading, Emperor Shizong held a banquet at the Eastern Palace for the crown prince's birthday and ordered new music performed. He told his ministers: "I composed this piece, called 'Joy of Ruler and Subject.' The realm is at peace — to share it with you, what could be more joyful?" Its lyrics and melody have not been preserved. On a yihai day in the fourth month of the thirteenth year, the emperor attended the Ruisi Hall and ordered singers to perform Jurchen lyrics. Turning to the crown prince, he said: "I never forget, even for a moment, what the former court did; I listen to these songs often so that you too may know the plain and unadorned spirit of our Jurchen forebears. If you do not understand our script and language, you have forgotten your roots!" In the fourth month of the twenty-fifth year he visited the Upper Capital and banqueted the imperial clan in the Huangwu Hall. As they drank and rejoiced, he told them: "Today I mean to drink myself fully drunk — such joy does not come easily. Long ago Emperor Gaozu of Han visited his old home, drank merrily with the local elders, struck the zhu and sang, and had his sons join in the chorus. He had risen from common cloth and still did as much — how much more should we rejoice, whose ancestors held this land for generations, and who now, with the realm unified, have come on tour to our homeland. Why should we not drink in joy!" The women of the imperial clan danced, and after wine had been presented, the ministers and elders danced as well. The emperor said: "I have been in my homeland for months now, and our return is near, yet no one has sung the old native melody. Come forward — I shall sing it for you." He then ordered all the imperial clansmen seated in ranks below the hall to come up and listen as he sang. The song spoke of the hardships of the ancestors' founding and of the purpose of carrying their work forward. As he sang and reached the lines recalling the ancestors' faces as though still before him, grief overwhelmed him and his voice broke. When the song ended, tears streamed down his face. The right chief minister Yuanzhong, together with the ministers and imperial kin, raised their cups to wish him long life, all shouting "Ten thousand years!" Then the elders sang the native melody again, as at a family gathering, in open and joyful harmony. The emperor sang on, and the company remained until the first watch of the night, ending in the fullest joy. The lyrics read:
42
猗歟我祖，聖矣武元。 誕膺明命，功光於天。 拯溺救楚，深根固蒂。 克開我後，傳福萬世。 無河海陵，淫昏多罪。 反易天道，荼毒海內。 自昔肇基，至於繼體。 積累之業，淪胥且墜。 望戴所歸，不謀同意。 宗廟至重，人心難拒。 勉副樂推，肆予嗣緒。 二十四年，兢業萬幾。 億兆庶姓，懷保安綏。 國家閒暇，廓然無事。 乃眷上都，興帝之第。 屬茲來遊，惻然予思。 風物減耗，殆非昔時。 于鄉於裏，皆非初始。 雖非初始，朕自樂此。 雖非昔時，朕無異視。 瞻戀慨想，祖宗舊宇。 屬屬音容，宛然如睹。 童嬉孺慕，歷歷其處。 壯歲經行，恍然如故。 舊年從遊，依俙如昨。 歡誠契闊，旦暮之若。 于嗟闊別兮，雲胡不樂。
Alas, our ancestor — how sacred was Wuyuan! He received the bright mandate, and his merit shone upon Heaven. He rescued the drowning and the desperate, planting deep roots and firm bonds. He opened the way for our posterity and passed down blessings for ten thousand generations. Woe to Prince Hailing — licentious and benighted, guilty of countless crimes. He reversed Heaven's way and brought torment to the realm. From the founding of old down to the succession of the throne. The accumulated enterprise was on the verge of ruin. All eyes turned to where the mandate leaned, without seeking anyone's consent. The ancestral temple weighed above all else, and human hearts could not refuse. Reluctantly accepting joyful advancement, I took up the succession. For twenty-four years I have been diligent in the ten thousand affairs of state. Hundreds of millions of common people live in peace and security. The state is at ease, broadly free of trouble. Thus my heart turns to the Upper Capital, the founding emperor's domain. Now that I have come on this tour, sorrow fills my thoughts. The land and its sights have faded — scarcely what they once were. In every village and hamlet, nothing remains as it was at the beginning. Though it is no longer as at the beginning, I take joy in it nonetheless. Though it is not as in former times, I behold it without estrangement. Gazing fondly and sighing, I think of the ancestors' old halls. Their voices and faces return again and again, as though I could see them still. Childhood play and youthful longing — each place stands clear in memory. The paths I walked in my prime seem suddenly as they once were. Companions of years past seem near again, as though it were only yesterday. Joy and earnest parting feel as close as morning and evening. Alas for this long parting — how can we fail to rejoice?
43
郊祀樂歌
Hymns for Suburban Sacrifice.
44
皇帝入中濆，宮縣黃鐘宮《昌甯之曲》：凡步武同。
As the emperor enters the central mound, the palace ensemble sounds the Yellow Bell mode, "Prospering Tranquility"; every pace and bearing match the prescribed pattern.
45
袞服穆穆，臨於中濆。 瞻言圜壇，皇皇後帝。 禋祀肇稱，磬香維德。 爰暨百神，於昭受職。
Robed in dark ceremonial vestments, solemn and still, he approaches the central mound. Behold the round altar — how august the Heavenly Sovereign on high. The spirit-sacrifice begins; bell-tones and fragrance rise as offerings of virtue. Thus it reaches the hundred spirits, who brightly take up their appointed offices.
46
降神，宮縣《乾甯之曲》、《仁豐道洽之舞》。 圜鐘為宮，黃鐘為角，太蔟為徵，姑洗為羽。 圜鐘三奏，黃鐘、太蔟、姑洗皆一奏，詞並同：
Escorting the spirits down: the palace ensemble plays "Heavenly Tranquility" and the dance "Benevolence Abundant, the Way in Harmony." The round bells serve as tonic, yellow bell as second, great cluster as third degree, and maiden wash as fifth. The round bells are played thrice; yellow bell, great cluster, and maiden wash each once — the words are the same:
47
我金之興，皇天錫羨。 惟神之休，爰茲郊見。 有玉其禮，有牲其薦。 將受厥明，來甯來燕。
As our Jin dynasty arose, August Heaven granted its blessing. By the spirits' favor alone we make this suburban appearance. Jade for the rites, victims for the offering. Soon to receive its radiance — come in peace, come to feast.
48
皇帝盥洗，宮縣黃鐘宮《昌甯之曲》：
The emperor performs the hand-washing; the palace ensemble plays in Yellow Bell mode, "Prospering Tranquility":
49
因天事天，惇宗將禮。 爰飭攸司，奉時罍洗。 挹彼注茲，乃升壇陛。 先事而虔，神勞豈弟。
Serving Heaven through Heaven, he honors the ancestral temple and prepares the rite. He charges the officers in charge to present the urn and basin at the appointed hour. Drawing water there and pouring it here, he ascends the altar steps. Devout before the rite begins — the spirits' kindly labor brings ease.
50
皇帝升壇，登歌大呂宮《昌甯之曲》：
The emperor ascends the altar; the ascent singers perform in great Yü mode, "Prospering Tranquility":
51
相在國南，崇崇其趾。 烝哉皇王，維時蒞止。 至誠通神，克禋克祀。 于萬斯年，昊天其子。
The altar stands south of the capital, its footings rising high and grand. How august the sovereign — at this hour he takes his stand. Utmost sincerity reaches the spirits; he worthily performs the spirit-sacrifice and offering. For myriad years — son of August Heaven.
52
昊天上帝，奠玉幣，登歌大呂宮《洪甯之曲》：
To August Heaven the Supreme Lord, offering jade and silks — ascent songs in great Yü mode, "Great Tranquility":
53
穆穆君王，有嚴有翼。 佩環鏘然，圜壇是陟。 嘉德升聞，馨非黍稷。 高明降監，百神受職。
Solemn and still is the king and lord — dignified in bearing, well attended. His belt pendants chime as he climbs the round altar. His fine virtue rises to be heard — the fragrance lies not in grain alone. The High Bright One descends to watch; the hundred spirits take their offices.
54
皇地祇，《坤甯之曲》：
To the Imperial Earth Spirit — "Earthly Tranquility":
55
肅敬明祇，躬行奠贄。 其贄維何？ 黃琮制幣。 從祀群靈，鹹秩厥位。 惟皇能饗，允集熙事。
Solemn and reverent toward the clear Earth Spirit, he personally lays the offerings. What offerings are presented? A yellow jade cube and fashioned silks. The host of spirits in attendance — each ranks in its proper place. Only the sovereign can receive them; the glorious rite is truly gathered complete.
56
配位太祖皇帝，《永甯之曲》：
For the paired seat of Grand Ancestor Emperor — "Eternal Tranquility":
57
肇舉明禋，皇天后土。 皇祖武元，爰作神主。 功昭耆定，歌以大呂。 綏我思成，有秩斯祜。
He first lifts the bright spirit-sacrifice to August Heaven and Queen Earth. Imperial ancestor Wuyuan, now set as spirit-lord of the rite. His merit shines in settled elder peace — hymned in great Yü mode. To settle our thoughts in fulfillment — blessings heaped rank on rank.
58
司徒迎俎，宮縣黃鐘宮《豐甯之曲》：
The Minister of Works receives the offering stand; the palace ensemble plays Yellow Bell mode, "Abundant Tranquility":
59
穆穆皇皇，天子躬祀。 群臣相之，罔不敬止。 俎豆畢陳，物其嘉矣。 馨香始升，明神燕喜。
Solemn and august, the Son of Heaven performs the sacrifice in person. The ministers assist him — none without reverent devotion. Stands and vessels are fully set forth — how fine the offerings. Fragrant smoke first ascends — the bright spirits feast and rejoice.
60
昊天上帝，酌獻，登歌大呂宮《嘉甯之曲》：
To August Heaven the Supreme Lord — libation offering — ascent songs in great Yü mode, "Fine Tranquility":
61
郊禋展敬，昭事上靈。 太尊在席，有醑斯馨。 酌言獻之，靈其醉止。 福祿來宜，以答明祀。
At the suburban spirit-sacrifice reverence is shown — brightly serving the spirits on high. The great wine-jar rests on the mat; strained wine, how fragrant. We pour and offer it — may the spirits drink their fill. Fortune and blessing come as fitting return for the bright sacrifice.
62
皇地祇，《泰甯之曲》：
To the Imperial Earth Spirit — "Great Tranquility":
63
袞服穆穆，臨彼泰折。 于昭神宮，埋幣瘞血。 爰稱匏爵，斟言薦潔。 方輿常安，扶我帝業。
In dark ceremonial robes, solemn and still, he approaches the great earth-altar. How brightly shines the spirit shrine — silks are buried, blood is interred. He raises the gourd cup and pours the clean offering. May the square earth realm ever rest in peace and uphold our imperial work.
64
配位太祖皇帝，《燕甯之曲》：、
For the paired seat of Grand Ancestor Emperor — "Feasting Tranquility":
65
烝哉高後，肇迪丕基。 功與天合，配天以推。 薦時清旨，孔肅其儀。 來甯來燕，福祿綏之。
How august the lofty ancestress — who first laid the great foundation. Her merit joins Heaven's — matched with Heaven and exalted. Offerings of the season's pure essence — how solemn the ceremony. Come in peace, come to feast — fortune and blessing are settled upon them.
66
文舞退，武舞進，宮縣黃鐘宮《咸甯之曲》：
The civil dance withdraws and the martial dance advances; the palace ensemble plays Yellow Bell mode, "Universal Tranquility":
67
奉祀郊丘，《雲門》變舞。 進秉硃幹，停揮翟羽。 于昭睿文，複肖聖武。 無疆維烈，天子受祜。
Offering sacrifice at the suburban mound — the transformed dance of "Cloud Gate." Advancing with vermilion staffs in hand; halting, waving pheasant-feather plumes. How brightly shines the sage culture — echoing the holy martial once more. Boundless is the merit — the Son of Heaven receives Heaven's grace.
68
亞終獻，宮縣黃鐘宮《咸甯之曲》、《功成治定之舞》：
The second and final offerings — palace ensemble in Yellow Bell mode, "Universal Tranquility," and the dance "Merit Accomplished, Order Settled":
69
掃地南郊，天神以俟，于皇君王，克禋克祀。 交于神明，玄酒陶器。 誠心靖純，非貴食味。
The southern suburb is swept clean; Heaven's spirits await — how august the sovereign, worthily performing spirit-sacrifice and offering. He communes with the spirits — dark wine in earthen vessels. The heart is sincere, still, and pure — the rite values not rich flavors.
70
皇帝飲福，登歌大呂宮《福甯之曲》：
The emperor partakes of the blessing-wine — ascent songs in great Yü mode, "Blessing Tranquility":
71
所以承天，無過乎質。 天其祐之，惟精惟一。 泰尊爰挹，馨香薦德。 惠我無疆，子孫千億。
To receive Heaven's mandate, nothing exceeds simplicity. Heaven blesses him — in refinement and singleness of purpose alone. From the great wine-jar he pours — fragrance offering up virtue. Favor us without end — sons and grandsons beyond counting.
72
徹豆，登歌大呂宮《豐甯之曲》：
The vessels are removed — ascent songs in great Yü mode, "Abundant Tranquility":
73
大禮爰陳，為豆孔碩。 肅肅其容，於顯百辟。 皇靈降監，馨聞在德。 明禋斯成，孚休罔極。
The great rite is now set forth — the offering vessels ample and full. Grave and orderly their bearing — how glorious the host of lords. The august spirits descend to watch — fragrance is heard in virtue alone. The bright spirit-sacrifice stands complete — blessing and joy without bound.
74
送神，宮縣圜鐘宮《乾甯之曲》：
Escorting the spirits away — the palace ensemble plays in round-bell mode, "Heavenly Tranquility":
75
赫赫上帝，臨監禋祀。 居然來歆，昭答祖配。 圜壇四成，神安其位。 升歌贊送，天人悅喜。
Splendid and bright the Supreme Lord — overseeing the spirit-sacrifice. They came to partake in solemn presence — brightly answering ancestor and consort. The round altar stands complete in four tiers — the spirits rest in their places. Ascent songs praise the farewell — Heaven and humanity rejoice together.
76
方丘樂歌
Hymns for the Square-Mound Altar.
77
迎神，《鎮甯之曲》。 大鐘宮再奏，太蔟角再奏，姑洗徵再奏，南呂羽再奏，詞同：
Welcoming the spirits — "Supreme Tranquility." Great bell as tonic played twice, great cluster as second twice, maiden wash as third twice, southern Yü as fifth twice — the words are the same:
78
至哉坤儀，萬匯資生。 稱物平施，流謙變盈。 禮修泰折，祭極精誠。 皇皇靈眷，永奠寰瀛。
Utmost is the form of Earth — the myriad beings live by its sustenance. It measures each thing and grants evenly — humility flows forth and fullness is transformed. Rites are perfected at the great earth-altar — sacrifice in utmost sincerity. August is the spirits' favor — forever securing the realm within the four seas.
79
初獻盥洗，太蔟宮《肅甯之曲》：
First offering — hand-washing — in great cluster mode, "Solemn Tranquility":
80
禮有五經，無先祭禮。 即時伸虔，惟時盥洗。 品物吉蠲，威儀濟濟。 錫之純嘏，來歆愷悌。
Among the five classics of ritual, none comes before the rites of sacrifice. Sincerity is offered forthwith; hand-washing comes only at the appointed hour. Every offering is purified for the rite; bearing and ceremony stand grave and complete. Grant them pure blessing; come to partake in harmony and gentle grace.
81
初獻升壇，應鐘宮《肅甯之曲》：
First offering — ascent to the altar — in response-bell mode, "Solemn Tranquility":
82
無疆之德，至哉坤元。 沉潛剛克，資生實蕃。 方丘之儀，惟敬無文。 神其來思，時歆薦殷。
Boundless is its virtue — utmost is the origin of Earth! Latent yet firm in strength, it sustains all life in true abundance. The rite at the square-mound altar honors reverence alone, not display. May the spirits come — in season they savor the ample offering.
83
初獻奠玉幣，太蔟宮《億甯之曲》：
First offering — presentation of jade and silks — in great cluster mode, "Abundant Tranquility":
84
禮行方澤，文物備舉。 惟皇地祇。 昭假來下。 奠瘞玉帛，純誠內著。 神保是享，陟降斯祜。
The rite proceeds at the square marsh-altar; regalia and vessels are fully set forth. To the august Imperial Earth Spirit alone. Brightly summoned, the spirits descend. Jade and silks are offered and buried; pure sincerity dwells within. The spirits guard and partake; in their going and coming, blessing is bestowed.
85
司徒捧俎，太蔟宮《豐甯之曲》：
The Minister of Works bears the offering stand — in great cluster mode, "Abundant Tranquility":
86
四階秩儀，壇于方澤。 昭事皇祇，即陰以墌。 潔肆于祊，孔嘉且碩。 神其福之，如幾如式。
Four tiers in ordered ceremony — the altar stands at the square marsh-altar. Brightly serving the august Earth Spirit — facing the north upon the earthen altar. Pure offerings are set at the side-altar — how excellent and how full. May the spirits bless it — in number and in form as the rite prescribes.
87
正位酌獻，太蔟宮《溥甯之曲》：
Principal seat — libation offering — in great cluster mode, "Broad Tranquility":
88
蕩蕩坤德，物無不載。 柔順利貞，含洪光大。 籩豆既陳，金石斯在。 四海永寧，福祿攸介。
Vast is the virtue of Earth — nothing lies outside its bearing. Yielding and compliant, firm and steadfast — it embraces greatness and vast light. Stands and vessels stand arrayed; bells and chimes are in their place. May the four seas know lasting peace — fortune and blessing bestowed therein.
89
配位酌獻配太宗也，太蔟宮《保甯之曲》：
Paired seat — libation offering to Grand Ancestor Taizong — in great cluster mode, "Preserving Tranquility":
90
詞闕。
The hymn text is missing.
91
亞終獻升壇，太蔟宮《咸甯之曲》：
Secondary and final offering — ascent to the altar — in great cluster mode, "All-Pervading Tranquility":
92
卓彼嘉壇，奠玉方澤。 百辟祇肅，八音純繹。 祀事孔明，柔祇感格。
Lofty stands that fine altar — jade is offered at the square marsh-altar. The host of lords stand in reverent order; the eight tones ring pure and clear. The sacrifice shines complete; the yielding earth spirits are moved and descend.
93
徹豆，應鐘宮《豐甯之曲》：
The vessels are removed — in response-bell mode, "Abundant Tranquility":
94
修理方丘，吉蠲是宜。 籩豆靜嘉，登於有司。 芬芬馨香，來享來儀。 郊儀將終，聲歌徹之。
The square-mound altar is made ready; auspicious purification is meet. Stands and vessels rest still and fine; offerings are set before the presiding officers. Fragrance rises rich and full — come to feast, come in due observance. The suburban rite draws near its close; music and song accompany the withdrawal.
95
送神，林鐘宮《鎮甯之曲》：
Escorting the spirits away — in forest-bell mode, "Pacifying Tranquility":
96
因地方丘，濟濟多儀。 樂成八變，靈祇格思。 薦餘徹豆，神貺昭垂。 億萬斯年，永祐丕基。
By the earth's square-mound altar — observances stand grave, full, and many. Music completes its eight changes; spirits and earth deities descend in presence. Offerings are cleared and vessels withdrawn; the spirits' gift shines forth. For ten thousand ages — may the great foundation be blessed forever.
97
詣望燎位，太蔟宮《肅甯之曲》。 詞同升壇。
Proceeding to the sighting-burn position — in great cluster mode, "Solemn Tranquility." The words are the same as for ascending the altar.