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音樂上
Music 1
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夫音，本乎太始而生於人心，隨物感動，播於形氣。 形氣既著，協於律呂，宮商克諧，名之為樂。 樂者，樂也。 聖人因百姓樂己之德，正之以六律，文之以五聲，詠之以九歌，舞之以八佾。 實升平之冠帶，王化之源本。 《記》曰：「感於物而動，故形於聲。」 夫人者，兩儀之播氣，而性情之所起也，恣其流湎，往而不歸，是以五帝作樂，三王制禮，標舉人倫，削平淫放。 其用之也，動天地，感鬼神，格祖考，諧邦國。 樹風成化，象德昭功，啟萬物之情，通天下之志。 若夫升降有則，宮商垂範。 禮逾其制則尊卑乖，樂失其序則親疏亂。 禮定其象，樂平其心，外敬內和，合情飾貌，猶陰陽以成化，若日月以為明也。
Sound has its root in the primordial beginning and is born in the human heart; stirred by what one encounters, it moves through body and breath. When physical expression takes shape, it aligns with the pitch standards; gong and shang harmonize, and this is called music. Music is joy. Because the people delight in the sage's virtue, he regulates it with the six pitch pipes, ornaments it with the five tones, sings it in the nine songs, and dances it in the eight rows of performers. It is truly the crowning ornament of a flourishing age and the wellspring of civilizing rule. The Record says: "Moved by things, the heart responds, and sound takes shape. Man is the breath of yin and yang made flesh, the seat of nature and emotion; left to run unchecked, feeling pours forth without return. That is why the Five Emperors created music and the Three Kings fashioned ritual—to set human relations in order and curb licentious excess. Used rightly, it moves Heaven and Earth, stirs spirits and ghosts, draws near the ancestors, and brings the realm into harmony. It plants moral influence and completes transformation, mirrors virtue and displays achievement, awakens the feelings of all living things, and gives voice to the will of the empire. Ascent and descent follow fixed rules; gong and shang provide the standard for all modes. When ritual oversteps its proper form, rank and station are thrown into disorder; when music loses its sequence, intimacy and distance are confused. Ritual defines the outward form; music calms the inner heart. Outward reverence and inward harmony join feeling to appearance, as yin and yang complete transformation and sun and moon give light.
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《記》曰：「大夫無故不撤懸，士無故不撤琴瑟。」 聖人造樂，導迎和氣，惡情摒退，善心興起。 伊耆有葦籥之音，伏犧有網罟之詠，葛天八闋，神農五弦，事與功偕，其來已尚。 黃帝樂曰《咸池》，帝嚳曰《六英》，帝顓頊曰《五莖》，帝堯曰《大章》，帝舜曰《簫韶》，禹曰《大夏》，殷湯曰《護》，武王曰《武》，周公曰《勺》。 教之以風賦，弘之以孝友，大禮與天地同節，大樂與天地同和，禮意風猷，樂情膏潤。 《傳》曰：「如有王者，必世而後仁。」 成、康化致升平，刑厝而不用也。 古者天子聽政，公卿獻詩。 秦人有作，罕聞斯道。 漢高祖時，叔孫通爰定篇章，用祀宗廟。 唐山夫人能楚聲，又造房中之樂。 武帝裁音律之響，定郊丘之祭，頗雜謳謠，非全雅什。 漢明帝時，樂有四品：一曰《大予樂》，郊廟上陵之所用焉。 則《易》所謂「先王作樂崇德，殷薦之上帝，以配祖考」者也。 二曰雅頌樂，辟雍饗射之所用焉。 則《孝經》所謂「移風易俗，莫善於樂」者也。 三曰黃門鼓吹樂，天子宴群臣之所用焉。 則《詩》所謂「坎坎鼓我，蹲蹲儛我」者也。 其四曰短簫鐃歌樂，軍中之所用焉。 黃帝時，岐伯所造，以建武揚德，風敵勵兵，則《周官》所謂「王師大捷，則令凱歌」者也。 又采百官詩頌，以為登歌，十月吉辰，始用烝祭。 董卓之亂，正聲鹹蕩。 漢雅樂郎杜夔，能曉樂事，八音七始，靡不兼該。 魏武平荊州，得夔，使其刊定雅律。 魏有先代古樂，自夔始也。 自此迄晉，用相因循，永嘉之寇，盡淪胡羯。 於是樂人南奔，穆皇羅鐘磬，苻堅北敗，孝武獲登歌。 晉氏不綱，魏圖將霸，道武克中山，太武平統萬，或得其宮懸，或收其古樂，于時經營是迫，雅器斯寢。 孝文頗為詩歌，以勖在位，謠俗流傳，布諸音律。 大臣馳騁漢、魏，旁羅宋、齊，功成奮豫，代有製作。 莫不各揚廟舞，自造郊歌，宣暢功德，輝光當世，而移風易俗，浸以陵夷。
The Record says: "A grandee does not remove his suspended bells without good cause; a gentleman does not put away his zither and lute without good cause. The sage creates music to welcome harmonious qi, drive away corrupt emotion, and awaken virtuous intent. Emperor Yi had reed-pipe music; Fuxi had the song of the hunting net; Getian had eight songs; Shennong had the five-string lute—each deed matched its music, and the tradition reaches far back. The Yellow Emperor's music was called Xian Pool; Emperor Ku's, Six Splendors; Emperor Zhuanxu's, Five Stalks; Emperor Yao's, Great Pattern; Emperor Shun's, Xiao Shao; Yu's, Great Xia; Tang of Yin's, Hu; King Wu's, Wu; and the Duke of Zhou's, Shao. They taught through the Odes and rhapsodies, spreading filial piety and brotherly duty; great ritual keeps pace with Heaven and Earth, great music harmonizes with Heaven and Earth—ritual carries moral purpose, music nourishes the heart. The Tradition says: "When a true king appears, benevolent rule takes generations to ripen. The reigns of Kings Cheng and Kang brought an age of peace so complete that punishments fell into disuse. In antiquity the Son of Heaven listened to governance while ministers and grandees presented poems. The Qin had their own music, but this tradition was rarely heard thereafter. Under Han Gaozu, Shusun Tong fixed the ritual sections for ancestral temple sacrifice. Lady Tangshan, skilled in Chu songs, also composed chamber music. Emperor Wu refined pitch and tone, established suburban sacrifices, and incorporated many folk songs—not entirely orthodox court odes. Under Han Mingdi, music fell into four categories: first, Great Imperial Music, used at suburban sacrifices, ancestral temples, and imperial tombs. This is what the Book of Changes means by "the former kings made music to honor virtue, and in the Yin season offered to the Lord on High, pairing him with the ancestors." Second, Ya and Song music, used at Bright Hall banquets and archery ceremonies. This is what the Classic of Filial Piety means by "nothing transforms custom better than music." Third, Yellow Gate Impromptu Music, performed when the Son of Heaven feasted his ministers. This is what the Odes mean by "beat the drums for us, dance for us in ranks." Fourth, Short Flute and Naoge Music, used in military campaigns. Created by Qibo in the Yellow Emperor's time, it proclaimed martial glory, displayed virtue, intimidated the enemy, and roused the troops—what the Rites of Zhou calls "when the royal army wins a great victory, victory songs are commanded." They also collected odes and hymns from officials of every rank for ascent songs, and on the auspicious tenth month performed the steam sacrifice. During Dong Zhuo's rebellion, orthodox music was completely lost. Du Kui of Han's elegant music bureau understood every aspect of music—the eight sounds and seven pitch origins were all within his grasp. When Cao Cao pacified Jing Province he obtained Du Kui and had him revise the orthodox pitch standards. Wei's ancient music of former dynasties began with Du Kui. From then until Jin the tradition was handed down, but the Yongjia invasion swept it all away among the northern tribes. Musicians fled south; Emperor Mu of Jin gathered bells and stones; when Fu Jian was defeated in the north, Emperor Xiaowu recovered the ascent songs. As Jin fell into disorder and Wei rose toward dominance, Daowu conquered Zhongshan and Taiwu pacified Tongwan—sometimes capturing court bell-sets, sometimes gathering ancient music—but urgent statecraft left elegant instruments neglected. Emperor Xiaowen of Wei composed songs and poems to encourage his officials; popular ballads spread and were set to pitch and mode. Great ministers drew on Han and Wei traditions and collected from Song and Qi; after each triumph they composed celebratory music, and every age produced its own works. Each dynasty staged its own temple dances and composed its own suburban hymns, proclaiming merit and virtue in the light of the age—yet in transforming custom, decline crept in by degrees.
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梁武帝本自諸生，博通前載，未及下車，意先風雅，爰詔凡百，各陳所聞。 帝又自糾擿前違，裁成一代。 周太祖發跡關隴，躬安戎狄，群臣請功成之樂，式遵周舊，依三材而命管，承六典而揮文。 而《下武》之聲，豈姬人之唱，登歌之奏，協鮮卑之音，情動於中，亦人心不能已也。 昔仲尼返魯，風雅斯正，所謂有其藝而無其時。 高祖受命惟新，八州同貫，制氏全出於胡人，迎神猶帶于邊曲。 及顏、何驟請，頗涉雅音，而繼想聞《韶》，去之彌遠。 若夫二南斯理，八風揚節，順序旁通，妖淫屏棄，宮徵流唱，翱翔率舞，弘仁義之道，安性命之真，君子益厚，小人無悔，非大樂之懿，其孰能與於此者哉！ 是以舜詠《南風》而虞帝昌，紂歌北鄙而殷王滅。 大樂不紊，則王政在焉。 故錄其不相因襲，以備於志。 《周官》大司樂一千三百三十九人。 漢郊廟及武樂，三百八十人。 煬帝矜奢，頗玩淫曲，御史大夫裴蘊，揣知帝情，奏括周、齊、梁、陳樂工子弟，及人間善聲調者，凡三百餘人，並付太樂。 倡優〕雜，鹹來萃止。 其哀管新聲，淫弦巧奏，皆出鄴城之下，高齊之舊曲雲。
Emperor Wu of Liang began as a scholar steeped in earlier learning; even before taking the throne his heart was set on restoring refined music, and he ordered everyone to submit their views. The Emperor himself corrected past errors and established standards for his age. Zhou's Grand Ancestor rose in Guanlong and personally pacified the frontier tribes; his ministers requested victory music following Zhou antiquity, ordering pipes by the three materials and composing texts by the six classics. Yet the melody of Xia Wu—was that truly a Ji song? The ascent songs harmonized with Xianbei tones; feeling stirred within—the human heart cannot always be restrained. When Confucius returned to Lu, the Airs and Elegances were set right—yet he had the art without the opportune moment. When Gaozu of Sui received the mandate, the eight provinces were united—but the music masters were mostly of barbarian origin, and hymns welcoming the spirits still bore frontier melodies. When Yan and He urgently petitioned, they touched on orthodox tones—but those who yearned for Shao music were ever farther from attaining it. When the Two Souths govern rightly, the eight winds raise their proper measure, order passes freely in every direction, licentious music is cast aside, palace modes flow in song, dancers rise and wheel in flight—expanding humaneness and righteousness, securing the truth of life, deepening the gentleman and leaving no regret among common men—if this is not the glory of great music, what is? When Shun sang the Southern Winds, the Yu dynasty flourished; when Zhou sang frontier melodies of the north, the Yin dynasty fell. When great music keeps its order, royal governance rests secure. I therefore record what does not merely repeat inherited forms, preserving it in this treatise. The Grand Music Master of the Offices of Zhou numbered 1,339 persons. Han's suburban temples and martial music employed 380 persons. Emperor Yang indulged extravagance and favored licentious tunes; Censor-in-Chief Pei Yun, reading the Emperor's taste, memorialized to gather musicians' children from Zhou, Qi, Liang, and Chen and all skilled performers among the people—more than 300 in all—and assign them to the Grand Music Office. Actors and singers mingled together, and all converged there. The new sounds of mournful pipes and the clever playing of licentious strings all came from below Ye city—the old tunes of Northern Qi, it is said.
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梁氏之初，樂緣齊舊。 武帝思弘古樂，天監元年，遂下詔訪百僚曰：「夫聲音之道，與政通矣，所以移風易俗，明貴辨賤。 而《韶》、《護》之稱空傳，《鹹》、《英》之實靡托，魏晉以來，陵替滋甚。 遂使雅鄭混淆，鐘石斯謬，天人缺九變之節，朝宴失四懸之儀。 朕昧旦坐朝，思求厥旨，而舊事匪存，未獲厘正，寤寐有懷，所為歎息。 卿等學術通明，可陳其所見。」 於是散騎常侍、尚書僕射沈約奏答曰：「竊以秦代滅學，《樂經》殘亡。 至於漢武帝時，河間獻王與毛生等，共采《周官》及諸子言樂事者，以作《樂記》。 其內史丞王定，傳授常山王禹。 劉向校書，得《樂記》二十三篇，與禹不同。 向《別錄》，有《樂歌詩》四篇、《趙氏雅琴》七篇、《師氏雅琴》八篇、《龍氏雅琴》百六篇。 唯此而已。 《晉中經簿》無複樂書，《別錄》所載，已覆亡逸。 案漢初典章滅絕，諸儒捃拾溝渠牆壁之間，得片簡遺文，與禮事相關者，即編次以為禮，皆非聖人之言。 《月令》取《呂氏春秋》，《中庸》、《表記》、《防記》、《緇衣》皆取《子思子》，《樂記》取《公孫尼子》，《檀弓》殘雜，又非方幅典誥之書也。 禮既是行己經邦之切，故前儒不得不補綴以備事用。 樂書事大而用緩，自非逢欽明之主，製作之君，不見詳議。 漢氏以來，主非欽明，樂既非人臣急事，故言者寡。 陛下以至聖之德，應樂推之符，實宜作樂崇德，殷薦上帝。 而樂書淪亡，尋案無所。 宜選諸生，分令尋討經史百家，凡樂事無小大，皆別纂錄。 乃委一舊學，撰為樂書，以起千載絕文，以定大樑之樂。 使《五英》懷慚，《六莖》興愧。」
At the founding of Liang, music followed the old Qi tradition. The Emperor sought to restore ancient music; in Tianjian year 1 he issued an edict asking the officials: "The Way of music connects with governance—it shifts custom, clarifies rank, and distinguishes noble from base. Yet the names of Shao and Hu survive only as empty titles; the substance of Xian and Ying has no firm foundation; from Wei and Jin onward decline grew ever worse. Elegant and popular music were confused, bells and stones misaligned; Heaven and man lacked the nine ritual transformations, and court banquets lost the four suspended bell-sets. I rise at dawn to hold court, seeking the root of this problem, yet old records are lost and I cannot set matters right—this weighs on me waking and sleeping. You whose learning is clear and penetrating—state what you know. Attendant Cavalier and Vice Minister Shen Yue replied: "In the Qin, learning was destroyed and the Music Classic lost. By Emperor Wu of Han's time, the King of Hejian and Mao Sheng gathered passages on music from the Offices of Zhou and various masters to compose the Record of Music. Wang Ding, assistant director of the palace, transmitted it to Changshan Wang Yu. Liu Xiang collated books and found twenty-three chapters of the Record of Music, differing from Yu's version. In Xiang's Separate Record were four chapters of Music Odes and Songs, seven of Master Zhao's Elegant Zither, eight of Master Shi's Elegant Zither, and 106 of Master Long's Elegant Zither. Only these survived. The Jin Central Canon Catalogue lists no further music books; what the Separate Record recorded is already lost. At the beginning of Han the canonical statutes were lost; scholars gathered stray fragments from ditches and walls—any scrap related to ritual was arranged as ritual, though none were the words of sages. Monthly Ordinance came from Master Lü's Spring and Autumn; Doctrine of the Mean, Record of Conduct, Record of Mourning, and Black Robe from Master Zisi; Record of Music from Gongsun Ni; Record of the Bow is a jumbled remnant—not a canonical text of proper scope. Ritual is urgent for personal conduct and statecraft, so earlier scholars had no choice but to patch and supplement what practice required. Music treats great affairs but is slow to put into practice; unless one meets a reverent and enlightened sovereign, it is rarely discussed in detail. Since Han, rulers were seldom reverent and enlightened, and music was no urgent concern for ministers—so few spoke of it. Your Majesty, with utmost sage virtue, bears the token of music's elevation—you should make music to honor virtue and in the Yin season offer to the Lord on High. Yet the music books are lost; searching the records, there is nowhere to turn. Select students and assign them to search the classics, histories, and hundred schools—every matter of music, great or small, should be compiled and recorded separately. Then commission one veteran scholar to compose a music book, reviving a thousand-year lost text and establishing the music of the great beam. Let Five Splendors feel shame and Six Stalks blush with embarrassment."
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是時對樂者七十八家，鹹多引流略，浩蕩其詞，皆言樂之宜改，不言改樂之法。 帝既素善鐘律，詳悉舊事，遂自制定禮樂。 又立為四器，名之為通。 通受聲廣九寸，宣聲長九尺，臨岳高一寸二分。 每通皆施三弦。 一曰玄英通：應鐘弦，用一百四十二絲，長四尺七寸四分差強； 黃鐘弦，用二百七十絲，長九尺； 大呂弦，用二百五十二絲，長八尺四寸三分差弱。 二曰青陽通：太簇弦，用二百四十絲，長八尺； 夾鐘弦，用二百二十四絲，長七尺五寸弱； 姑洗弦，用二百一十四絲，長七尺一寸一分強。 三曰硃明通：中呂弦，用一百九十九絲，長六尺六寸六分弱； 蕤賓弦，用一百八十九絲，長六尺三寸二分強； 林鐘弦，用一百八十絲，長六尺。 四曰白藏通：夷則弦，用一百六十八絲，長五尺六寸二分弱； 南呂弦，用一百六十絲，長五尺三寸二分大強； 無射弦，用一百四十九絲，長四尺九寸九分強。 因以通聲，轉推月氣，悉無差違，而還相得中。 又制為十二笛：黃鐘笛，長三尺八寸，大呂笛，長三尺六寸，太簇笛，長三尺四寸，夾鐘笛，長三尺二寸，姑洗笛，長三尺一寸，中呂笛，長二尺九寸，蕤賓笛，長二尺八寸，林鐘笛，長二尺七寸，夷則笛，長二尺六寸，南呂笛，長二尺五寸，無射笛，長二尺四寸，應鐘笛，長二尺三寸。 用笛以寫通聲，飲古鐘玉律並周代古鐘，並皆不差。 於是被以八音，施以七聲，莫不和韻。
Seventy-eight scholars responded on music; most cited sources at length—all said music should be reformed, but none said how to reform it. The Emperor, himself skilled in bells and pitch and knowing old affairs in detail, thereupon fixed ritual and music on his own authority. He also created four instruments and named them Tong. The Tong's sounding chamber was nine inches wide, its sounding board nine feet long, and the bridge one inch and two fen high. Each Tong carried three strings. First, the Dark Splendor Tong: the Yingzhong string used 142 threads, length four feet seven inches and a strong fraction; the Huangzhong string used 270 threads, length nine feet; the Dalü string used 252 threads, length eight feet four inches and a weak fraction. Second, the Green Yang Tong: the Taicu string used 240 threads, length eight feet; the Jiazhong string used 224 threads, length seven feet five inches weak; the Guxian string used 214 threads, length seven feet one inch and one fen strong. Third, the Vermilion Brightness Tong: the Zhonglü string used 199 threads, length six feet six inches and six fen weak; the Ruibin string used 189 threads, length six feet three inches and two fen strong; the Linzhong string used 180 threads, length six feet. Fourth, the White Storehouse Tong: the Yize string used 168 threads, length five feet six inches and two fen weak; the Nanlü string used 160 threads, length five feet three inches and two fen very strong; the Wushe string used 149 threads, length four feet nine inches and nine fen strong. Using the Tong to produce sound and calculating the monthly qi, all matched without deviation and achieved perfect harmony. They also made twelve flutes: Huangzhong at three feet eight inches, Dalü at three feet six inches, Taicu at three feet four inches, Jiazhong at three feet two inches, Guxian at three feet one inch, Zhonglü at two feet nine inches, Ruibin at two feet eight inches, Linzhong at two feet seven inches, Yize at two feet six inches, Nanlü at two feet five inches, Wushe at two feet four inches, and Yingzhong at two feet three inches. Flutes were used to verify the Tong's pitch against ancient bell standards and Zhou bells—all matched perfectly. Arrayed with the eight sounds and the seven tones, everything harmonized.
7
是時北中郎司馬何佟之上言：「案《周禮》'王出入則奏《王夏》，屍出入則奏《肆夏》，牲出入則奏《昭夏》。 今樂府之《夏》，唯變《王夏》為《皇夏》，蓋緣秦、漢以來稱皇故也。 而齊氏仍宋儀注，迎神奏《昭夏》，皇帝出入奏《永至》，牲出入更奏引牲之樂。 其為舛謬，莫斯之甚。 請下禮局改正。」 周舍議，以為「《禮》'王入奏《王夏》'，大祭祀與朝會，其用樂一也。 而漢制，皇帝在廟，奏《永至》樂，朝會之日，別有《皇夏》。 二樂有異，於禮為乖，宜除《永至》，還用《皇夏》。 又《禮》'屍出入奏《肆夏》，賓入大門奏《肆夏》'，則所設唯在人神，其與迎牲之樂，不可濫也。 宋季失禮，頓虧舊則，神入廟門，遂奏《昭夏》，乃以牲牢之樂，用接祖考之靈。 斯皆前代之深疵，當今所宜改也。」 時議又以為《周禮》雲：「若樂六變，天神皆降。」 神居上玄，去還怳忽，降則自至，迎則無所。 可改迎為降，而送依前式。 又《周禮》雲「若樂八變，則地祇皆出，可得而禮」，地宜依舊為迎神。 並從之。 又以明堂設樂，大略與南郊不殊，惟壇堂異名，而無就燎之位。 明堂則遍歌五帝，其餘同於郊式焉。
At that time Palace Gentleman He Tong memorialized: "The Rites of Zhou prescribe Xian Xia when the king enters or exits, Si Xia for the impersonator of the dead, and Zhao Xia for the sacrificial victim. Today's Music Office Xia pieces changed only Wang Xia to Huang Xia—likely because Qin and Han rulers styled themselves "august" (huang). Yet Qi followed Song's ritual code: Zhao Xia welcomed the spirits, Yong Zhi accompanied the emperor's entry and exit, and separate music led the sacrificial victim. The error could hardly be greater. I request that the Ritual Bureau correct this. Zhou She argued: "The Rites says 'when the king enters, Wang Xia is played'—great sacrifices and court assemblies use the same music. Under Han regulations, Yong Zhi was played when the emperor was in the temple, but a separate Huang Xia on court assembly days. Two different pieces for one rite violates ritual propriety; Yong Zhi should be abolished and Huang Xia restored. The Rites also says Si Xia is played when the impersonator or guest enters the great gate—it belongs to human and spirit, and cannot be confused with music for welcoming the victim. Late Song lost ritual propriety: when the spirit entered the temple gate they played Zhao Xia—using victim music to receive the ancestors' spirits. These are deep flaws of earlier dynasties that the present age should correct. Discussion also cited the Rites of Zhou: "When music undergoes six transformations, the spirits of Heaven descend. Spirits dwell in upper mystery, coming and going in dim obscurity—they descend of their own accord, and there is nowhere to go to welcome them. Welcome should be changed to descend, while the sending-off rite follows the former form. The Rites of Zhou also says that with eight musical transformations earth spirits emerge and can be received in ritual—for earth spirits, welcoming should follow the old way. All proposals were adopted. Music at the Bright Hall broadly matched the southern suburban rite, differing only in the altar's name and lacking a position for approaching the burning. At the Bright Hall hymns addressed all Five Emperors; the rest followed the suburban form.
8
初宋、齊代，祀天地，祭宗廟，准漢祠太一後土，盡用宮懸。 又太常任昉亦據王肅議雲：「《周官》'以六律、五聲、八音、六舞大合樂，以致鬼神，以和邦國，以諧兆庶，以安賓客，以悅遠人。 '是謂六同，一時皆作。 今六代舞獨分用之，不厭人心。」 遂依肅議，祀祭郊廟，備六代樂。 至是帝曰：「《周官》分樂饗祀，《虞書》止鳴兩懸，求之于古，無宮懸之議。 何？ 事人禮縟，事神禮簡也。 天子襲袞，而至敬不文，觀天下之物，無可以稱其德者，則以少為貴矣。 大合樂者，是使六律與五聲克諧，八音與萬舞合節耳。 豈謂致鬼神只用六代樂也？ 其後即言'分樂序之，以祭以享。 '此乃曉然可明，肅則失其旨矣。 推檢載籍，初無郊禋宗廟遍舞六代之文。 唯《明堂位》曰：'禘祀周公於太廟，硃幹玉戚，冕而舞《大武》，皮弁素積，裼而舞《大夏》。 納夷蠻之樂於太廟，言廣魯於天下也。 '夫祭尚於敬，無使樂繁禮黷。 是以季氏逮暗而祭，繼之以燭，有司跛倚。 其為不敬大矣。 他日祭，子路與焉，質明而始，晏朝而退。 孔子聞之，曰：「誰謂由也不知禮乎？ '若依肅議，郊既有迎送之樂，又有登歌，各頌功德； 遍以六代，繼之出入，方待樂終。 此則乖于仲尼韙晏朝之意矣。」 於是不備宮懸，不遍舞六代，逐所應須。 即設懸，則非宮非軒，非判非特，宜以至敬所應施用耳。 宗廟省迎送之樂，以其閟宮靈宅也。 齊永明中，舞人冠幘並簪筆，帝曰：「筆笏蓋以記事受言，舞不受言，何事簪筆？ 豈有身服朝衣，而足綦宴履？」 於是去筆。
Early Song and Qi, sacrificing to Heaven and Earth and the ancestral temple, followed Han's sacrifice to Grand Unity and Earth with full court bell-sets. Grand Master Ren Fang, citing Wang Su, said: "The Offices of Zhou combines the six pitch pipes, five tones, eight sounds, and six dances in great music to reach spirits, harmonize the states, settle guests, and delight distant peoples. This is called the six unities—all performed together. Using the six dynastic dances separately does not satisfy proper sentiment. Following Su's argument, suburban and temple sacrifices included all six dynastic dances. The Emperor said: "The Offices of Zhou divides music for feasting sacrifice; the Book of Yu mentions only two suspended sets—antiquity offers no argument for full court bell-sets. Why? Rites for serving men are elaborate; rites for serving spirits are simple. The Son of Heaven wears the highest robe, yet utmost reverence avoids ornament; nothing under Heaven matches his virtue—therefore less is more honorable. Great combined music means harmonizing the six pitch pipes with five tones and the eight sounds with the myriad dances—that is all. How could reaching spirits require only the six dynastic dances? Immediately after it says 'music is divided and ordered for sacrifice and feasting. This is clearly evident—Wang Su missed the point. Searching records, there is no text requiring all six dynastic dances at suburban, Yin, and ancestral temple rites. Only the Record of the Bright Hall says: at the great temple the Duke of Zhou was honored—with vermilion shafts and jade axes they danced Great Wu; with leather cap and white garment they danced Great Xia. Barbarian music was admitted to the great temple—meaning to extend Lu's fame throughout the realm. Sacrifice honors reverence; music must not be so numerous that ritual is profaned. When the Ji clan held sacrifice until dark and followed with candles, the officers leaned and sprawled. Their lack of reverence was extreme. At another sacrifice Zilu was present; it began at dawn and ended at morning court. Confucius heard and said: "Who says You does not understand ritual? If one follows Su's argument, the suburb has welcome and send-off music plus ascent songs praising merit and virtue; all six dynastic dances accompany every entry and exit—one must wait for the music to finish. This departs from Confucius's praise of ending at morning court. Thereupon court bell-sets were not provided, the six dynastic dances were not performed throughout, and only what each occasion required was used. When suspended sets were used, they were neither full palace nor pavilion sets, neither half nor special—only what utmost reverence required. The ancestral temple omitted welcome and send-off music, because it is the sealed dwelling of spirits. In Qi's Yongming era dancers wore caps with writing brushes; the Emperor said: "Brushes and tablets record affairs and receive words—dance receives no words; why insert brushes? How could one wear court robes yet have banquet slippers on the feet? The brushes were removed.
9
又晉及宋、齊，懸鐘磬大准相似，皆十六架。 黃鐘之宮：北方，北面，編磬起西，其東編鐘，其東衡大於鎛，不知何代所作，其東鎛鐘。 太簇之宮：東方，西面，起北。 蕤賓之宮：南方，北面，起東。 姑洗之宮：西方，東面，起南。 所次皆如北面。 設建鼓於四隅，懸內四面，各有柷爆。 帝曰：「著晉、宋史者，皆言太元、元嘉四年，四廂金石大備。 今檢樂府，止有黃鐘、姑洗、蕤賓、太簇四格而已。 六律不具，何謂四廂？ 備樂之文，其義焉在？」 於是除去衡鐘，設十二鎛鐘，各依辰位，而應其律。 每一鎛鐘，則設編鐘磬各一虡，合三十六架。 植建鼓於四隅。 元正大會備用之。
In Jin, Song, and Qi, suspended bells and chime-stones were broadly similar—sixteen frames in all. Huangzhong palace: north, facing north; chime-stones starting west, bells east of them, then a horizontal bell larger than the bo—of unknown age—then the bo bell. Taicu palace: east, facing west, starting from the north. Ruibin palace: south, facing north, starting from the east. Guxian palace: west, facing east, starting from the south. The arrangement in each followed the north-facing pattern. Mounted drums stood at the four corners; within the suspension on all four sides were wooden clappers and hand drums. The Emperor said: "Jin and Song histories say that in Taiyuan and Yuanjia year 4, bells and stones in all four wings were complete. Checking the Music Office, only four sets remain: Huangzhong, Guxian, Ruibin, and Taicu. The six pitch pipes are incomplete—what does four wings mean? Where is the meaning of complete music in this? The horizontal bell was removed and twelve bo bells were set, each at its earthly branch position responding to its pitch pipe. Each bo bell had arranged bells and chime-stones on one frame each—36 frames in total. Mounted drums were placed at the four corners. These were prepared for the New Year's Day great assembly.
10
乃定郊禋宗廟及三朝之樂，以武舞為《大壯舞》，取《易》雲「大者壯也」，正大而天地之情可見也。 以文舞為《大觀舞》，取《易》雲「大觀在上」，觀天之神道而四時不忒也。 國樂以「雅」為稱，取《詩序》雲：「言天下之事，形四方之風，謂之雅。 雅者，正也。」 止乎十二，則天數也。 乃去階步之樂，增撤食之雅焉。 眾官出入，宋元徽三年《儀注》奏《肅咸樂》，齊及梁初亦同。 至是改為《俊雅》，取《禮記》：「司徒論選士之秀者而升之學，曰俊士也。」 二郊、太廟、明堂，三朝同用焉。 皇帝出入，宋孝建二年秋《起居注》奏《永至》，齊及梁初亦同。 至是改為《皇雅》，取《詩》「皇矣上帝，臨下有赫」也。 二郊、太廟同用。 皇太子出入，奏《胤雅》，取《詩》「君子萬年，永錫爾胤」也。 王公出入，奏《寅雅》，取《尚書》、《周官》「貳公弘化，寅亮天地」也。 上壽酒，奏《介雅》，取《詩》「君子萬年，介爾景福」也。 食舉，奏《需雅》，取《易》「雲上於天，需，君子以飲食宴樂」也。 撤饌，奏《雍雅》，取《禮記》「大饗客出以《雍》撤也。」 並三朝用之。 牲出入，宋元徽二年《儀注》奏《引牲》，齊及梁初亦同。 至是改為《滌雅》，取《禮記》「帝牛必在滌三月」也。 薦毛血，宋元徽三年《儀注》奏《嘉薦》，齊及梁初亦同。 至是改為《牷雅》，取《春秋左氏傳》「牲牷肥腯」也。 北郊明堂、太廟並同用。 降神及迎送，宋元徽三年《儀注》奏《昭夏》，齊及梁初亦同。 至是改為《誠雅》，取《尚書》「至誠感神」也。 皇帝飲福酒，宋元徽三年《儀注》奏《嘉祚》，至齊不改，梁初，改為《永祚》。 至是改為《獻雅》，取《禮記·祭統》「屍飲五，君洗玉爵獻卿」。 今之福酒，亦古獻之義也。 北郊、明堂、太廟同用。 就燎位，宋元徽三年《儀注》奏《昭遠》，齊及梁不改。 就埋位，齊永明六年《儀注》奏《隸幽》。 至是燎埋俱奏《禋雅》，取《周禮·大宗伯》「以禋祀祀昊天上帝」也。 其辭並沈約所制。 今列其歌詩三十曲雲。
They fixed music for suburban Yin, ancestral temple, and three court audiences—the martial dance as Great Zhuang Dance, from the Changes: "the great is strong"—upright and great, the feelings of Heaven and Earth visible. The civil dance as Great Guan Dance, from the Changes: "great contemplation above"—contemplating Heaven's Way so the four seasons never err. State music takes Ya as its title, from the Odes Preface: "Speaking of affairs under Heaven, giving form to the winds of the four directions—this is called Ya. Ya means upright. Stopping at twelve—that is Heaven's number. They removed the music for ascending steps and added Ya music for clearing the feast. When officials entered and exited, Song's Yuanhui year 3 Ritual Regulations played Suwei Music; Qi and early Liang did the same. It was changed to Jun Ya, from the Record of Rites: "The Minister of Education selects outstanding district scholars and promotes them to the academy—they are called jun scholars. Used alike at both suburbs, Grand Temple, Bright Hall, and three court audiences. When the emperor entered and exited, Song's Xiaojian year 2 Daily Records played Yong Zhi; Qi and early Liang did the same. It was changed to Huang Ya, from the Odes: "August is the Lord on High, overseeing below with splendor." Used at both suburbs and the Grand Temple. When the crown prince entered and exited, Yin Ya was played, from the Odes: "the gentleman ten thousand years, forever grant you heirs." When kings and dukes entered and exited, Yin Ya was played, from the Documents and Offices of Zhou: "the two dukes spread transformation, reverently illumining Heaven and Earth." At the longevity wine, Jie Ya was played, from the Odes: "the gentleman ten thousand years, grant you great blessing." At the food presentation, Xu Ya was played, from the Changes: "clouds rise to Heaven—Xu; the gentleman drinks and feasts with joy." At clearing the dishes, Yong Ya was played, from the Record of Rites: "at the great feast when guests depart, Yong clears the dishes. All used at the three court audiences. When victims entered and exited, Song's Yuanhui year 2 Ritual Regulations played Yin Sheng; Qi and early Liang did the same. It was changed to Di Ya, from the Record of Rites: "the emperor's ox must be kept in the pen three months." At presenting hair and blood, Song's Yuanhui year 3 Ritual Regulations played Jia Jian; Qi and early Liang did the same. It was changed to Quan Ya, from the Zuo Tradition: "victims fat and well-fleshed." Northern suburb, Bright Hall, and Grand Temple all used the same pieces. At sending down spirits and welcome and send-off, Song's Yuanhui year 3 Ritual Regulations played Zhao Xia; Qi and early Liang did the same. It was changed to Cheng Ya, from the Documents: "utmost sincerity moves the spirits." When the emperor drank the blessing wine, Song's Yuanhui year 3 Ritual Regulations played Jia Zuo; Qi kept it; early Liang changed it to Yong Zuo. It was changed to Xian Ya, from the Record of Rites Sacrificial Regulated: "the impersonator drinks five; the ruler washes the jade goblet and presents to the minister." Today's blessing wine also preserves the meaning of ancient presentation. Northern suburb, Bright Hall, and Grand Temple used the same piece. At the burning position, Song's Yuanhui year 3 Ritual Regulations played Zhao Yuan; Qi and Liang kept it. At the burial position, Qi's Yongming year 6 Ritual Regulations played Li You. Both burning and burial now played Yin Ya, from the Rites of Zhou: "with Yin sacrifice one sacrifices to August Heaven the Lord on High." Their lyrics were all composed by Shen Yue. I now list their thirty song-poems below.
11
《俊雅》，歌詩三曲，四言：
Jun Ya: three songs in four-character lines—
12
設官分職，髦俊攸俟。 髦俊伊何？ 貴德尚齒。 唐乂咸事，周寧多士。 區區衛國，猶賴君子。 漢之得人，帝猷乃理。
Offices are established and duties assigned; outstanding talents await appointment. Who are the outstanding talents? They honor virtue and respect age. Tang and Yi completed their tasks; Zhou brought peace to many scholars. Even the small state of Wei relied on its gentlemen. When Han obtained worthy men, the imperial design fell into order.
13
開我八襲，辟我九重。 珩佩流響，纓紱有容。 袞衣前邁，列辟雲從。 義兼東序，事美西雍。 分階等肅，異列齊恭。
Opening the eight layers, revealing the nine gates. Pendant seals chime; tassels and ribbons show dignified bearing. In ceremonial robes advancing, the ranks of lords follow like clouds. Righteousness shared in the eastern school; affairs beautiful in the western hall. Ranks divided in reverence, columns aligned in respect.
14
重列北上，分庭異陛。 百司揚職，九賓相禮。 齊宋舅甥，魯衛兄弟。 思皇藹藹，群龍濟濟。 我有嘉賓，實惟愷悌。
Ranks arrayed northward, courts divided, steps distinct. The hundred offices display their duties; the nine guests perform ritual. Qi and Song are uncle and nephew; Lu and Wei are brothers. How august and harmonious; hosts of dragons abundant. We have fine guests—truly kind and easy.
15
《皇雅》，三曲，五言：
Huang Ya: three songs in five-character lines—
16
帝德實廣運，車書靡不賓。 執瑁朝群後，垂旒禦百神。 八荒重譯至，萬國婉來親。
The emperor's virtue extends far; chariots and records—all submit. Holding jade scepters, the lords attend; with hanging tassels he governs the hundred spirits. From the eight wilds, repeated translations arrive; ten thousand states draw near in grace.
17
華蓋拂紫微，勾陳繞太一。 容裔被緹組，參差羅蒨畢。 星回照以爛，天行徐且謐。
The canopy brushes the Purple Forbidden; the Dipper array encircles Grand Unity. Trailing robes draped in crimson silk; varied ranks arrayed in azure and scarlet. Stars wheel back in splendor; Heaven moves slowly and in peace.
18
清蹕朝萬宇，端冕臨正陽。 青絇黃金繶，袞衣文繡裳。 既散華蟲采，複流日月光。
With clear escort, morning to the myriad realms; with upright cap, facing the true yang. Blue cord and golden embroidery; ceremonial robes with brocade skirts. Having scattered the patterned insects' colors, again flowing with sun and moon's light.
19
《胤雅》，一曲，四言：
Yin Ya: one song in four-character lines—
20
自昔殷代，哲王迭有。 降及周成，惟器是守。 上天乃眷，大樑既受。 灼灼重明，仰承元首。 體乾作貳，命服斯九。 置保置師，居前居後。 前星北耀，克隆萬壽。
From of old in the Yin age, wise kings succeeded one another. Down to King Cheng of Zhou, only the vessel was guarded. Heaven above favored; Great Liang received the mandate. Brilliant double brightness, upward inheriting the sovereign. Embodying Heaven as heir, command-robes of the nine ranks. Setting protectors and tutors—before and behind. The fore star shines north; may glory clone ten thousand years.
21
《寅雅》，一曲，三言：
Yin Ya: one song in three-character lines—
22
禮莫違，樂具舉。 延籓辟，朝帝所。 執桓蒲，列齊莒。 垂袞毳，紛容與。 升有儀，降有序。 齊簪紱，忘笑語。 始矜嚴，終酣醑。
Ritual must not be violated; music fully raised. Extending to the frontier lords, attending the emperor's court. Holding huandao and huanpu, ranks of Qi and Ju. Trailing robes and fur, varied in bearing. Ascending with ceremony, descending in order. Caps and ribbons aligned, forgetting laughter and speech. At first stern, at last deep in wine.
23
《介雅》，三曲，五言：
Jie Ya: three songs in five-character lines—
24
百福四象初，萬壽三元始。 拜獻惟袞職，同心協卿士。 北極永無窮，南山何足擬。
Hundred blessings at the four images' beginning; ten thousand years at the three origins' start. Bow and present only the ceremonial robe; hearts united with ministers. The North Pole forever without end—how can the southern mountain compare?
25
壽隨百禮洽，慶與三朝升。 惟皇集繁祉，景福互相仍。 申錫永無遺，穰簡必來應。
Longevity follows the hundred rites' harmony; celebration with the three court audiences rises. Only the emperor gathers abundant blessings; bright fortune mutually continues. Repeated grants forever without omission; abundant harvest surely comes in response.
26
百味既含馨，六飲莫能尚。 玉罍信湛湛，金卮頗搖漾。 敬舉發天和，祥祉流嘉貺。
The hundred flavors already hold fragrance; the six drinks none can surpass. Jade goblets truly deep and still; golden cups somewhat swaying. Respectfully raising, sending forth Heaven's harmony; auspicious blessing flows in fine gifts.
27
《需雅》，八曲，七言：
Xu Ya: eight songs in seven-character lines—
28
實體平心待和味，庶羞百品多為貴。 或鼎或鼒宣九沸，楚桂胡鹽芼芳卉。 加籩列俎雕且蔚。
Solid body, calm heart awaiting harmonious flavor; many fine dishes mostly prized. Whether ding or zeng, proclaiming nine boils; Chu cassia, Hu salt, minced fragrant plants. Adding trays, setting stands—carved and luxuriant.
29
五味九變兼六和，令芳甘旨庶且多。 三危之露九期禾，圓案方丈粲星羅。 皇舉斯樂同山河。
Five flavors, nine transformations together with six harmonies; commanding fragrance, sweet taste, many and ample. Dew of Three Precipices, grain of nine periods; round stands a square yard, stars scattered in array. The emperor raises this music together with mountains and rivers.
30
九州上腴非一族，玄芝碧樹壽華木。 終朝采之不盈掬，用拂腥膻和九穀。 既甘且飫致遐福。
The nine provinces' rich soil is not one clan; dark fungus, green trees, longevity-bringing trees. All morning gathering, not filling a handful; used to brush away fishy and mutton, harmonizing nine grains. Both sweet and satiating, bringing distant blessing.
31
人欲所大味為先，興和盡敬鹹在旃。 碧鱗硃尾獻嘉鮮，紅毛綠翼墜輕翾。 臣拜稽首萬斯年。
What people desire most, flavor comes first; harmony and utmost reverence—all present at the mats. Green-scaled, vermilion-tailed, presenting fine freshness; red-feathered, green-winged, falling in light flight. The minister bows, forehead to ground—ten thousand years.
32
擊鐘以俟惟大國，況乃禦天流至德。 侑食斯舉揚盛則，其禮不愆儀不忒。 風猷所被深且塞。
Striking bells to await—only a great state; how much more governing Heaven, flowing supreme virtue. Assisting food, this raising displays flourishing rule; its ritual not erring, ceremony not failing. The wind's current covered is deep and blocking.
33
膳夫奉職獻芳滋，不麝不夭咸以時。 調甘適苦別澠淄，其德不爽受福厘。 於焉逸豫永無期。
The provisioner serving duty presents fragrant delicacies; neither musk-deer nor young, all at their season. Adjusting sweet and fitting bitter, distinguishing Mian and Zi; its virtue not failing, receiving blessing and favor. Therein ease and pleasure forever without end.
34
備味斯饗惟至聖，鹹降人神禮為盛。 或風或雅流歌詠，負鼎言歸啟殷命。 悠悠四海同茲慶。
Complete flavor, this feasting—for utmost sagehood; all descending to human and spirit, ritual is flourishing. Whether wind or ya, flowing in song and chant; carrying the ding, words return, opening Yin's mandate. Far and wide the four seas share this celebration.
35
道我六穗羅八珍，洪鼎自爨匪勞薪。 荊包海物必來陳，滑甘滌氵隨味和神。 以斯至德被無垠。
Guiding my six ears of grain, gathering eight delicacies; the great ding self-cooking, not laboring with fuel. Jing bundles, sea products surely come displayed; smooth and sweet, washed and cleansed, flavor harmonizing spirit. With this utmost virtue covering the boundless.
36
《雍雅》，三曲，四言：
Yong Ya: three songs in four-character lines—
37
明明在上，其儀有序。 終事靡愆，收鉶撤俎。 乃升乃降，和樂備舉。 天德莫違，人謀是與。 敬行禮達，茲焉宴語。
Bright bright above, its ceremony has order. Affairs ending without fault; gathering vessels, removing stands. Thus ascending, thus descending; harmony and music fully raised. Heaven's virtue must not be violated; human plans accord with it. Reverently performing ritual's reach; here banquet and discourse.
38
我餕惟阜，我肴孔庶。 嘉味既充，食旨斯飫。 屬厭無爽，沖和在禦。 擊壤齊歡，懷生等豫。 蒸庶乃粒，實由仁恕。
Our grain is abundant; our dishes very many. Fine flavor already full; eating delicacies thus satiated. Satiety without failing; harmonious qi present in governance. Striking the earth in shared joy; cherishing life, equal in pleasure. The multitude then receives grain—truly from humaneness and forbearance.
39
百司警列，皇在在陛。 既飫且醑，卒食成禮。 其容穆穆，其儀濟濟。 凡百庶僚，莫不愷悌。 奄有萬國，抑由天啟。
The hundred offices alert in ranks; the emperor present on the steps. Already satiated and given wine; finishing food, completing ritual. Their bearing solemn; their ceremony abundant. All the myriad officials—none not kind and easy. Possessing ten thousand states—yet from Heaven's opening.
40
《滌雅》，一曲，四言：
Di Ya: one song in four-character lines—
41
將修盛禮，其儀孔熾。 有腯斯牲，國門是置。 不黎不翽，靡愆靡忌。 呈肌獻體，永言昭事。 俯休皇德，仰綏靈志。 百福具膺，嘉祥允洎。 駿奔伊在，慶覃遐嗣。
About to perform the flourishing rite; its ceremony greatly blazing. Having well-fleshed victims, at the state gate they are placed. Neither dark nor mottled; no fault, no offense. Presenting flesh, offering body—forever declaring the service. Bowing to rest in imperial virtue, upward securing the spirit's intent. Hundred blessings all received; fine auspice truly arrives. Galloping hastily is here; celebration extending to distant heirs.
42
《牷雅》，一曲，四言：
Quan Ya: one song in four-character lines—
43
反本興敬，復古昭誠。 禮容宿設，祀事孔明。 華俎待獻，崇碑麗牲。 充哉繭握，肅矣簪纓。 其膋既啟，我豆既盈。 庖丁游刃，葛盧驗聲。 多祉攸集，景福來並。
Returning to root, raising reverence; restoring antiquity, displaying sincerity. Ritual appearance overnight set; sacrificial affairs clearly bright. Splendid stands await presentation; lofty stele, beautiful victim. Full are the silkworm offerings; solemn the caps and tassels. Its fat already opened; our vessels already full. Cook Ding wielding blade; Ge Lu testing sound. Many blessings gather; bright fortune comes together.
44
《誠雅》，一曲，三言：南郊降神用
Cheng Ya: one song in three-character lines, for sending down spirits at the southern suburb—
45
懷忽慌，瞻浩蕩。 盡誠潔，致虔想。 出杳冥，降無象。 皇情肅，具僚仰。 人禮盛，神途敞。 亻愛明靈，申敬饗。 感蒼極，洞玄壤。
Thought confused and vast, gazing at the boundless. Utmost sincerity pure; reaching reverent longing. Emerging from obscurity; descending without form. Imperial feeling solemn; all officials look up. Human ritual flourishing; spirit path open. Cherishing bright spirit; extending reverent offering. Touching the azure pole; penetrating the dark earth.
46
《誠雅》，一曲，三言：北郊迎神用
Cheng Ya: one song in three-character lines, for welcoming spirits at the northern suburb—
47
地德溥，昆丘峻。 揚羽翟，鼓應<申東>。 出尊祗，展誠信。 招海瀆，羅嶽鎮。 惟福祉，咸昭晉。
Earth's virtue broad; Kun mound lofty. Raising feather banners; drums responding to feather standards. Emerging in utmost reverence; displaying sincerity and trust. Summoning sea and rivers; gathering mountain guardians. Only blessings and fortune—all brightly advancing.
48
《誠雅》，一曲，四言：南北郊、明堂、太廟送神同用
Cheng Ya: one song in four-character lines—for southern and northern suburbs, Bright Hall, and Grand Temple send-off (same piece)—
49
我有明德，馨非稷黍。 牲玉孔備，嘉薦惟旅。 金懸宿設，和樂具舉。 禮達幽明，敬行樽俎。 鼓鐘雲送，遐福是與。
We have bright virtue; fragrance not millet and millet. Victims and jade fully prepared; fine offerings only as travelers. Golden suspension overnight set; harmony and music fully raised. Ritual reaching dark and bright; reverence performed at goblets and stands. Drums and bells like clouds sending off; distant blessing is given.
50
《獻雅》，一曲，四言：
Xian Ya: one song in four-character lines—
51
神宮肅肅，天儀穆穆。 禮獻既同，膺此釐福。 我有馨明，無愧史祝。
Spirit palace solemn; heavenly ceremony reverent. Ritual presentation already alike; receiving this blessing and fortune. We have fragrant brightness; no shame before the historiographer and invoker.
52
《禋雅》，一曲，四言：就燎
Yin Ya: one song in four-character lines, for approaching the burning—
53
紫宮昭煥，太一微玄。 降臨下土，尊高上天。 載陳珪壁，式備牲牷。 雲孤清引，栒虞高懸。 俯昭象物，仰致高煙。 肅彼靈祉，咸達皇虔。
Purple palace blazing bright; Grand Unity subtly dark. Descending to oversee the lower earth; honored high above Heaven. Displaying jade disks; preparing victims complete. Clouds solitary, clear leading; xun-yu high suspended. Bowing to display image-things; upward sending lofty smoke. Solemn those spirit blessings; all reaching imperial reverence.
54
《禋雅》，一曲，四言：就理
Yin Ya: one song in four-character lines, for approaching the burial—
55
盛樂斯舉，協徵調宮。 靈饗慶洽，祉積化融。 八變有序，三獻已終。 坎牲瘞玉，酬德報功。 振垂成呂，投壤生風。 道無虛致，事由感通。 于皇盛烈，此祚華嵩。
Flourishing music this raising; harmonizing pitch, adjusting palace mode. Spirit feasting, celebration harmonized; blessing accumulated, transformation merged. Eight transformations have order; three presentations already ended. Burying victims, interring jade; repaying virtue, reporting merit. Shaking hanging, completing Lü; casting earth, generating wind. The Way has no empty arrival; affairs follow from mutual stirring. How august the flourishing merit—this fortune, Mount Hua and Song.
56
普通中，薦蔬之後，改諸雅歌，敕蕭子雲制詞。 既無牲牢，遂省《滌雅》、《牷雅》雲。
In the Putong era, after presenting vegetables, all Ya songs were changed; the Emperor ordered Xiao Ziyun to compose new texts. Since there were no victims, Di Ya and Quan Ya were omitted.
57
南郊，舞奏黃鐘，取陽始化也。 北郊，舞奏林鐘，取陰始化也。 明堂宗廟，所尚者敬，蕤賓是為敬之名，複有陰主之義，故同奏焉。 其南北郊、明堂、宗廟之禮，加有登歌。 今又列其歌詩一十八曲雲。
At the southern suburb, dance plays Huangzhong, taking yang's beginning transformation. At the northern suburb, dance plays Linzhong, taking yin's beginning transformation. Bright Hall and ancestral temple honor reverence; Ruibin is reverence's name and also yin's mastery—therefore both play the same. Southern and northern suburbs, Bright Hall, and ancestral temple rites added ascent songs. I now also list their eighteen song-poems below.
58
南郊皇帝初獻，奏登歌，二曲，三言：
Southern suburb, emperor's first presentation—ascent song, two pieces in three-character lines—
59
暾既明，禮告成。 惟聖祖，主上靈。 爵已獻，罍又盈。 息羽籥，展歌聲。 亻愛如在，結皇情。
Dawn already bright; ritual announces completion. Only the sage ancestor, master above of spirits. Goblet already presented; jar again full. Ceasing feather pipes; spreading song's voice. As if present—binding imperial feeling.
60
禮容盛，樽俎列。 玄酒陳，陶匏設。 獻清旨，致虔潔。 王既升，樂已闋。 降蒼昊，垂芳烈。
Ritual appearance flourishing; goblets and stands arrayed. Dark wine displayed; pottery vessels set. Presenting pure essence; reaching reverent purity. The king already ascended; music already ended. Descending from azure Heaven; trailing fragrant merit.
61
北郊皇帝初獻，奏登歌，二曲，四言：
Northern suburb, emperor's first presentation—ascent song, two pieces in four-character lines—
62
方壇既坎，地祇已出。 盛典弗愆，群望鹹秩。 乃升乃獻，敬成禮卒。 靈降無兆，神饗載謐。 允矣嘉祚，其升如日。
Square altar already sunk; earth spirits already emerged. Grand rite not erring; all spirits equally ordered. Thus ascending, thus presenting; reverence completing, ritual ending. Spirits descending without omen; spirit feasting loaded with peace. Truly such fine fortune—its rise like the sun.
63
至哉坤元，實惟厚載。 躬茲奠饗，誠交顯晦。 或升或降，搖珠動佩。 德表成物，慶流皇代。 純嘏不愆。 祺福是賚。
Utmost is Kun's origin—truly the thick foundation. Personally here presenting feast; sincerity crossing dark and bright. Whether ascending or descending; swaying pearls, moving pendants. Virtue displaying accomplished things; celebration flowing to the imperial age. Pure blessing not erring. Auspicious fortune is bestowed.
64
宗廟皇帝初獻，奏登歌，七曲，四言：
Ancestral temple, emperor's first presentation—ascent song, seven pieces in four-character lines—
65
功高禮洽，道尊樂備。 三獻具舉，百司在位。 誠敬罔愆，幽明同致。 茫茫億兆，無思不遂。 蓋之如天，容之如地。
Merit high, ritual harmonized; Way honored, music prepared. Three presentations all raised; hundred offices in position. Sincerity and reverence without fault; dark and bright alike arriving. Vast vast hundred millions—no thought not fulfilled. Covering like Heaven; containing like Earth.
66
殷兆玉筐，周始邠王。 于赫文祖，基我大樑。 肇土七十，奄有四方。 帝軒百祀，人思未忘，永言聖烈，祚我無疆。
Yin's omen, jade basket; Zhou's beginning, Bin king. How glorious the cultural ancestor, founding our Great Liang. Opening territory seventy [li]; possessing the four directions. Emperor Xuan's hundred sacrifices—people's thought not forgotten; forever declaring sage merit, fortune continuing our boundlessness.
67
有夏多罪，殷人塗炭。 四海倒懸，十室思亂。 自天命我，殲凶殄難。 既躍乃飛，言登天漢。 爰饗爰祀，福祿攸贊。
There was Xia with many crimes; Yin people smeared in charcoal. The four seas inverted and hung; ten households thought of disorder. Since Heaven's mandate to us, destroying the wicked, extinguishing disaster. Having leaped, then flying—words ascending Heaven's river. Thereupon feasting, thereupon sacrificing—fortune and blessing thereby assisting.
68
犧象既飾，罍俎斯具。 我郁載馨，黃流乃注。 峨峨卿士，駿奔是務。 佩上鳴階，纓還拂樹。 悠悠億兆，天臨日煦。
Sacrificial vessels already adorned; goblets and stands thus prepared. Our aromatic millet loaded with fragrance; yellow liquid thus poured. Lofty lofty ministers and gentlemen; galloping hastily is the task. Pendants sounding on the steps; tassels returning, brushing trees. Far far hundred millions; Heaven overlooking, sun warming.
69
猗與至德，光被黔首。 鑄熔蒼昊，甄陶區有。 肅恭三獻，對揚萬壽。 比屋可封，含生無咎。 匪徒七百，天長地久。
How great the utmost virtue, light covering the black-haired people. Casting and melting the azure Heaven, shaping and refining the realm. Solemn and respectful three presentations; responding and raising ten thousand years. House after house can be sealed; containing life without fault. Not only seven hundred—Heaven long, Earth enduring.
70
有命自天，于皇后帝。 悠悠四海，莫不來祭。 繁祉具膺，八神聳衛，福至有兆，慶來無際。 播此餘休，於彼荒裔。
Mandate from Heaven, to the empress emperor. Far far the four seas—all come to sacrifice. Abundant blessings all received; eight spirits towering guard; fortune arriving has omen; celebration coming without bound. Spreading this surplus grace, to those wild frontiers.
71
祀典昭潔，我禮莫違。 八簋充室，六龍解驂。 神宮肅肅，靈寢微微。 嘉薦既饗，景福攸歸。 至德光被，洪祚載輝。
Sacrificial canon bright and pure; our ritual must not be violated. Eight vessels filling the chamber; six dragons unharnessed. Spirit palace solemn; spirit dwelling dim. Fine offerings already feasted; bright fortune thereby returning. Utmost virtue light covered; great fortune carrying splendor.
72
明堂遍歌五帝登歌，五曲，四言：
Bright Hall—all Five Emperors ascent songs, five pieces in four-character lines—
73
歌青帝辭：
Song for the Green Emperor:
74
帝居在震，龍德司春。 開元布澤，含和尚仁。 群居既散，歲雲陽止。 飭農分地，人粒惟始。 雕梁繡栱，丹楹玉墀。 靈威以降，百福來綏。
The emperor's seat in Zhen; dragon virtue governs spring. Opening the origin, spreading bounty; containing harmony, honoring humaneness. The masses already dispersed; the year's clouds stop at yang. Regulating agriculture, dividing land; people's grain only begins. Carved beams, embroidered brackets; vermilion pillars, jade steps. Spirit majesty thereby descending; hundred blessings come to pacify.
75
歌赤帝辭：
Song for the Red Emperor:
76
炎光在離，火為威德。 執禮昭訓，持衡受則。 靡草既凋，溫風以至。 嘉薦惟旅，時羞孔備。 齊醍在堂，笙鏞在下。 匪惟七百，無絕終始。
Blazing light in Li; fire is authoritative virtue. Holding ritual, displaying instruction; holding balance, receiving rule. Withered grass already withered; warm wind thereby arriving. Fine offerings only as travelers; seasonal delicacies very prepared. Clear wine in the hall; sheng and yong below. Not only seven hundred; no end from beginning to end.
77
歌黃帝辭：
Song for the Yellow Emperor:
78
鬱彼中壇，含靈闡化。 回環氣象，輪無輟駕。 布德焉在，四序將收。 音宮數五，飯稷驂鳷。 宅屏居中，旁臨外宇。 升為帝尊，降為神主。
Luxuriant that central altar; containing spirit, spreading transformation. Circling round, atmospheric signs; wheel without ceasing its carriage. Spreading virtue where is it? The four seasons about to harvest. Palace mode number five; millet food, wild-goose accompaniment. Dwelling screen centered; overlooking outward the outer realm. Ascending as emperor honored; descending as spirit master.
79
歌白帝辭：
Song for the White Emperor:
80
神在秋方，帝居四皓。 允茲金德，裁成萬寶。 鴻來雀化，參見火邪。 幕無玄鳥，菊有黃華。 載列笙磬，式陳彝俎。 靈罔常懷，惟德是與。
Spirit in autumn's direction; emperor's seat, four bright stars. Truly this metal virtue; cutting and completing ten thousand treasures. Wild geese come, sparrows transform; three appearances, fire's evil. Canopy without dark birds; chrysanthemums have yellow flowers. Displaying sheng and chime-stones; setting out ritual vessels and stands. Spirits not constantly cherishing—only virtue is given.
81
歌黑帝辭：
Song for the Black Emperor:
82
德盛乎水，玄冥紀節。 陰降陽騰，氣凝象閉。 司智蒞坎，駕鐵衣玄。 祁寒坼地，晷度回天。 悠悠四海，駿奔奉職。 祚我無疆，永隆人極。
Virtue flourishing as water; dark spirit marking the season. Yin descending, yang rising; qi congealing, images closed. Managing wisdom, presiding over Kan; driving iron, wearing dark. Severe cold splitting earth; gnomon shadow returning to Heaven. Far far the four seas; galloping hastily serving duty. Fortune continuing our boundlessness; forever flourishing human utmost.
83
太祖太夫人廟舞歌：
Grand Ancestor Great Lady's temple dance song:
84
閟宮肅肅，清廟濟濟。 於穆夫人，固天攸啟。 祚我梁德，膺斯盛禮。 文泬達向，重簷丹陛。 飾我俎彝，潔我粢盛。 躬事奠饗，推尊盡敬。 悠悠萬國，具承茲慶。 大孝追遠，兆庶攸詠。
Sealed palace solemn; clear temple abundant. How reverent the great lady—firmly Heaven thereby opening. Fortune continuing our Liang virtue; receiving this flourishing ritual. Patterned brilliance reaching forward; double eaves, vermilion steps. Adorning our vessels and sacrificial stands; cleansing our grain offerings. Personally serving presentation and feast; extending honor, utmost reverence. Far far ten thousand states—all receiving this celebration. Great filial piety pursuing the distant; the myriad people thereby chanting.
85
太祖太夫人廟登歌：
Grand Ancestor Great Lady's temple ascent song:
86
光流者遠，禮貴彌申。 嘉饗雲備，盛典必陳。 追養自本，立愛惟親。 皇情乃慕，帝服來尊。 駕齊六轡，旂耀三辰。 感茲霜露，事彼冬春。 以斯孝德，永被蒸民。
Light flowing reaches far; ritual honors ever more extended. Fine feasting clouds prepared; grand rites must be displayed. Pursuing nourishment from root; establishing love only in kin. Imperial feeling thereby admiring; emperor's robes come to honor. Driving six reins aligned; banners shining the three stars. Moved by this frost and dew; serving those winter and spring. With this filial virtue, forever covering the steaming people.
87
《大壯舞》奏夷則，《大觀舞》奏姑洗，取其月王也。 二郊、明堂、太廟，三朝並同用。 今亦列其歌詩二曲雲。
Great Zhuang Dance plays Yize; Great Guan Dance plays Guxian—taking their monthly mastery. Two suburbs, Bright Hall, Grand Temple, three court audiences—all use the same. I now also list their two song-poems below.
88
《大壯舞》歌，一曲，四言：
Great Zhuang Dance song, one piece in four-character lines—
89
高高在上，實愛斯人。 眷求聖德，大拯彝倫。 率土方燎，如火在薪。 忄棄忄棄黔首，暮不及晨。 硃光啟耀，兆發穹旻。 我皇郁起，龍躍漢津。 言屆牧野，電激雷震。 闕鞏之甲，彭濮之人。 或貔或武，漂杵浮輪。 我邦雖舊，其命惟新。 六伐乃止，七德必陳。 君臨萬國，遂撫八夤。
Lofty above, truly cherishing these people. Seeking sage virtue, greatly saving human relations. Leading the earth's people to burn, like fire on kindling. Urging the black-haired people— evening not reaching morning. Vermilion light opening splendor; omen issuing from the azure Heaven. Our emperor flourishing rose; dragon leaping at Han's ford. Words reaching Muye; lightning stirring, thunder shaking. Armored troops of Que and Gong; men of Peng and Pu. Some bear-like, some martial; floating pestles, floating wheels. Our state though old—its mandate only new. Six campaigns then stopping; seven virtues must be displayed. Ruler over ten thousand states; thereupon comforting the eight frontiers.
90
《大觀舞》歌，一曲，四言：
Great Guan Dance song, one piece in four-character lines—
91
皇矣帝烈，大哉興聖。 奄有四方，受天明命。 居上不怠，臨下唯敬。 舉無愆則，動無失正。 物從其本，人遂其性。 昭播九功，肅齊八柄。 寬以惠下，德以為政。 三趾晨儀，重輪夕映。 棧壑忘阻，梯山匪夐。 如日有恆，與天無竟。 載陳金石，式流舞詠。 《咸》、《英》、《韶》、《夏》，于茲比盛。
August the emperor's glory; great the rising sage. Possessing the four directions; receiving Heaven's bright mandate. Dwelling above without slackness; facing below only reverence. All actions without fault in rule; movements without losing correctness. Things follow their root; people follow their nature. Brightly spreading nine achievements; solemn and orderly eight handles. Generous in benefiting those below; virtue thereby governing. Three-toed morning omen; double wheel evening reflected. Stacked ravines forgetting barrier; ladder mountains not distant. Like the sun having constancy; with Heaven without end. Displaying bells and stones; thereby flowing dance and chant. Xian, Ying, Shao, Xia—here compared in flourishing.
92
相和五引：
Harmonizing Five Introductions:
93
角引：
Jue Introduction:
94
萌生觸發歲在春，《咸池》始奏德尚仁，惉滯以息和且均。
Sprouting and touching, initiating—in spring; Xian Pool first playing, virtue honoring humaneness; stagnant thereby ceasing, harmonious and equal.
95
徵引：
Zhi Introduction:
96
執衡司事宅離方，滔滔夏日火德昌，八音備舉樂無疆。
Holding balance, managing affairs, dwelling in Li's direction; vast summer day, fire virtue flourishing; eight sounds all raised, music without bound.
97
宮引：
Gong Introduction:
98
八音資始君五聲，興此和樂感百精，優遊律呂被《咸》《英》。
Eight sounds beginning from the ruler's five tones; raising this harmony and music, moving the hundred essences; leisurely wandering in pitch pipes, covered by Xian and Ying.
99
商引：
Shang Introduction:
100
司秋紀兌奏西音，激揚鐘石和瑟琴，風流福被樂愔愔。
Managing autumn, marking Dui, playing western tones; stirring bells and stones, harmonizing se and qin; wind's current, blessing covered, music peaceful and quiet.
101
羽引：
Yu Introduction:
102
玄英紀運冬冰折，物為音本和且悅，窮高測深長無絕。
Dark splendor marking fortune, winter ice breaking; things as sound's root, harmonious and pleasing; probing high, measuring deep, long without end.
103
普通中，薦蔬以後，敕蕭子雲改諸歌辭為相和引，則依五音宮商角徵羽為第次，非隨月次也。
In the Putong era, after presenting vegetables, the Emperor ordered Xiao Ziyun to change all song texts to harmonizing introductions—ordered by the five tones gong, shang, jue, zhi, and yu, not by monthly order.
104
舊三朝設樂有登歌，以其頌祖宗之功烈，非君臣之所獻也，於是去之。 三朝，第一，奏《相和五引》：第二，眾官入，奏《俊雅》； 第三，皇帝入閤，奏《皇雅》； 第四，皇太子發西中華門，奏《胤雅》； 第五，皇帝進，王公發足； 第六，王公降殿，同奏《寅雅》； 第七，皇帝入儲變服； 第八，皇帝變服出儲，同奏《皇雅》； 第九，公卿上壽酒，奏《介雅》； 第十，太子入預會，奏《胤雅》； 十一，皇帝食舉，奏《需雅》； 十二，撤食，奏《雍雅》； 十三，設《大壯》武舞； 十四，設《大觀》文舞； 十五，設《雅歌》五曲，十六，設俳伎； 十七，設《鼙舞》； 十八，設《鐸舞》； 十九，設《拂舞》； 二十，設《巾舞》並《白紵》； 二十一，設舞盤伎； 二十二，設舞輪伎； 二十三，設刺長追花幢伎； 二十四，設受猾伎； 二十五，設車輪折脰伎； 二十六，設長蹻伎； 二十七，設須彌山、黃山、三峽等伎； 二十八，設跳鈴伎； 二十九，設跳劍伎； 三十，設擲倒伎； 三十一，設擲倒案伎； 三十二，設青絲幢伎； 三十三，設一傘花幢伎； 三十四，設雷幢伎； 三十五，設金輪幢伎； 三十六，設白獸幢伎； 三十七，設擲蹻伎； 三十八，設獮猴幢伎； 三十九，設啄木幢伎； 四十，設五案幢咒願伎； 四十一，設辟邪伎； 四十二，設青紫鹿伎； 四十三，設白武伎，作訖，將白鹿來迎下； 四十四，設寺子導安息孔雀、鳳凰、文鹿胡舞登連《上雲樂》歌舞伎； 四十五，設緣高糸亙伎； 四十六，設變黃龍弄龜伎； 四十七，皇太子起，奏《胤雅》； 四十八，眾官出，奏《俊雅》； 四十九，皇帝興，奏《皇雅》。
Formerly the three court audiences included ascent songs praising ancestral merit—not appropriate for minister-ruler presentation—so they were removed. Three court audiences: first, Harmonizing Five Introductions; second, when officials enter, Jun Ya; third, when the emperor enters the side chamber, Huang Ya; fourth, when the crown prince departs the western Zhonghua Gate, Yin Ya; fifth, when the emperor advances, kings and dukes set out; sixth, when kings and dukes descend the hall, together play Yin Ya; seventh, the emperor enters the dressing chamber; eighth, when the emperor changes robes and exits the chamber, together play Huang Ya; ninth, when grandees and dukes present the longevity wine, play Jie Ya; tenth, when the crown prince enters the preliminary assembly, play Yin Ya; eleventh, when the emperor's food is presented, play Xu Ya; twelfth, when food is cleared, play Yong Ya; thirteenth, set Great Zhuang martial dance; fourteenth, set Great Guan civil dance; fifteenth, set five Ya song pieces; sixteenth, set comic performers; seventeenth, set Pi dance; eighteenth, set Duo dance; nineteenth, set Fu dance; twentieth, set Jin dance together with White Zhuo; twenty-first, set dancing-plate acrobatics; twenty-second, set dancing-wheel acrobatics; twenty-third, set piercing-long-pursuing-flower-banner acrobatics; twenty-fourth, set receiving-monkey acrobatics; twenty-fifth, set cart-wheel neck-breaking acrobatics; twenty-sixth, set long-stilt acrobatics; twenty-seventh, set Sumeru Mountain, Yellow Mountain, Three Gorges and similar acrobatics; twenty-eighth, set bell-jumping acrobatics; twenty-ninth, set sword-jumping acrobatics; thirtieth, set tumbling acrobatics; thirty-first, set tumbling-on-stand acrobatics; thirty-second, set blue-silk banner acrobatics; thirty-third, set single-umbrella-flower-banner acrobatics; thirty-fourth, set thunder-banner acrobatics; thirty-fifth, set golden-wheel banner acrobatics; thirty-sixth, set white-beast banner acrobatics; thirty-seventh, set throwing-stilt acrobatics; thirty-eighth, set monkey-banner acrobatics; thirty-ninth, set woodpecker-banner acrobatics; fortieth, set five-stand banner incantation-wish acrobatics; forty-first, set ward-off-evil acrobatics; forty-second, set blue-purple deer acrobatics; forty-third, set white-tiger acrobatics; when finished, a white deer comes to welcome below; forty-fourth, set temple-master guiding Parthian peacock, phoenix, patterned deer, Hu dance, Denglian, and Ascending Cloud Music song-and-dance acrobatics; forty-fifth, set high-rope walking acrobatics; forty-sixth, set transforming yellow dragon and turtle-play acrobatics; forty-seventh, when the crown prince rises, play Yin Ya; forty-eighth, when officials exit, play Jun Ya; forty-ninth, when the emperor rises, play Huang Ya.
105
自宋、齊已來，三朝有鳳凰銜書伎。 至是乃下詔曰：「朕君臨南面，道風蓋闕，嘉祥時至，為愧已多。 假令巢侔軒閣，集同昌戶，猶當顧循寡德，推而不居。 況於名實頓爽，自欺耳目。 一日元會，太樂奏鳳凰銜書伎，至乃舍人受書，升殿跪奏。 誠復興乎前代，率由自遠，內省懷慚，彌與事篤。 可罷之。」
From Song and Qi onward, the three court audiences included the phoenix-holding-document acrobatic. An edict was issued: "I rule facing south—the Way's wind perhaps lacking; auspicious signs arrive in season, making me ashamed already in plenty. Even if nests matched palace halls and gatherings equaled Chang's households, I should still look to my meager virtue and decline. How much more when name and reality suddenly diverge, deceiving my own ears and eyes. On New Year's Day assembly, the Grand Music Office played the phoenix-holding-document acrobatic; then the palace attendant received the document, ascended the hall, knelt and memorialized. Truly reviving former ages, following distant origins—inwardly I feel ashamed, ever more at odds with affairs. It may be abolished."
106
天監四年，掌賓禮賀瑒，請議皇太子元會出入所奏。 帝命別制養德之樂。 瑒謂宜名《元雅》，迎送二傅亦同用之。 取《禮》「一有元良，萬國以貞」之義。 明山賓、嚴植之及徐勉等，以為周有九《夏》，梁有十二《雅》。 此並則天數，為一代之曲。 今加一雅，便成十三。 瑒又疑東宮所奏舞，帝下其議。 瑒以為，天子為樂，以賞諸侯之有德者。 觀其舞，知其德。 況皇儲養德春宮，式瞻攸屬，謂宜備《大壯》、《大觀》二舞，以宣文武之德。 帝從之。 於是改皇太子樂為《元貞》，奏二舞。 是時禮樂制度，粲然有序。 其後臺城淪沒，簡文帝受制于侯景。 景以簡文女溧陽公主為妃，請帝及主母範淑妃宴於西州，奏梁所常用樂。 景儀同索超世亦在宴筵。 帝潸然屑涕。 景興曰：「陛下何不樂也？」 帝強笑曰：「丞相言索超世聞此以為何聲？」 景曰：「臣且不知，何獨超世？」 自此樂府不修，風雅鹹盡矣。 及王僧辯破侯景，諸樂並送荊州。 經亂，工器頗闕，元帝詔有司補綴才備。 荊州陷沒，周人不知採用，工人有知音者，併入關中，隨例沒為奴婢。
In Tianjian year 4, Director of Guest Ritual He Yang requested discussion of music when the crown prince entered and exited the New Year assembly. The Emperor ordered separately composing music for nurturing virtue. Yang said it should be named Yuan Ya, used the same for welcoming and sending off the two tutors. Taking the Rites' meaning "when there is a worthy heir, ten thousand states thereby become upright." Ming Shanbin, Yan Zhizhi, Xu Mian and others held that Zhou had nine Xia; Liang had twelve Ya. These all follow Heaven's number—as one age's pieces. Now adding one Ya makes thirteen. Yang also questioned the dance played at the Eastern Palace; the Emperor sent down the discussion. Yang held that the Son of Heaven made music to reward feudal lords who had virtue. Observing their dance, one knows their virtue. How much more the crown prince nurturing virtue in the Spring Palace, the model all look to—Great Zhuang and Great Guan two dances should be provided to display martial and civil virtue. The Emperor followed this. Thereupon the crown prince's music was changed to Yuan Zhen, playing the two dances. At that time ritual and music institutions were brilliantly in order. Afterward Terrace City fell; Emperor Jianwen was controlled by Hou Jing. Jing took Emperor Jianwen's daughter Princess Liyang as consort, requesting the Emperor and his consort Lady Fan to feast in Xizhou, playing music Liang commonly used. Jing's Equal-in-Rank Suo Chaoshi was also at the feast. The Emperor silently shed tears. Jing said with pleasure: "Why is Your Majesty not joyful?" The Emperor forced a smile: "Chancellor, what does Suo Chaoshi think this sound is?" Jing said: "Your servant also does not know—how only Chaoshi? From this the Music Office was not repaired; elegance and refinement were wholly lost. When Wang Sengbian defeated Hou Jing, all music was sent to Jing Province. After the turmoil, instruments were much lacking; Emperor Yuan ordered the relevant offices to patch and mend until barely complete. When Jing Province fell, the Zhou people did not know how to use it; among the craftsmen were those who knew pitch—together they entered Guanzhong, following precedent enslaved as servants.
107
鼓吹，宋、齊並用漢曲，又充庭用十六曲。 高祖乃去四曲，留其十二，合四時也。 更制新歌，以述功德。 其第一，漢曲《硃鷺》改為《木紀謝》，言齊謝梁升也。 第二，漢曲《思悲翁》改為《賢首山》，言武帝破魏軍于司部，肇王跡也。 第三，漢曲《艾如張》改為《桐柏山》，言武帝牧司，王業彌章也。 第四，漢曲《上之回》改為《道亡》，言東昏喪道，義師起樊鄧也。 第五，漢曲《擁離》改為《忱威》，言破加湖元勳也。 第六，漢曲《戰城南》改為《漢東流》，言義師克魯山城也。 第七，漢曲《巫山高》改為《鶴樓峻》，言平郢城，兵威無敵也。 第八，漢曲《上陵》改為《昏主恣淫慝》，言東昏政亂，武帝起義，平九江、姑熟，大破硃雀，伐罪吊人也。 第九，漢曲《將進酒》改為《石首局》，言義師平京城，仍廢昏，定大事也。 第十，漢曲《有所思》改為《期運集》，言武帝應籙受禪，德盛化遠也。 十一，漢曲《芳樹》改為《於穆》，言大樑闡運，君臣和樂，休祚方遠也。 十二，漢曲《上邪》改為《惟大樑》，言梁德廣運，仁化洽也。
Impromptu music: Song and Qi both used Han tunes; also for court assembly used sixteen pieces. Gaozu thereupon removed four pieces, retaining twelve—together four seasons. New songs were further made to narrate merit and virtue. The first: Han tune Zhu Lu changed to Mu Ji Xie, speaking of Qi yielding to Liang's rise. The second: Han tune Si Bei Weng changed to Xian Shou Shan, speaking of Emperor Wu breaking Wei's army at Si Province, beginning the king's trace. The third: Han tune Ai Ru Zhang changed to Tong Bai Shan, speaking of Emperor Wu governing Si Province, the royal enterprise ever more manifest. The fourth: Han tune Shang Zhi Hui changed to Dao Wang, speaking of Dong Hun losing the Way, the righteous army rising at Fan and Deng. The fifth: Han tune Yong Li changed to Chen Wei, speaking of breaking Jiahu, first merit. The sixth: Han tune Zhan Cheng Nan changed to Han Dong Liu, speaking of the righteous army taking Lu Mountain city. The seventh: Han tune Wu Shan Gao changed to He Lou Jun, speaking of pacifying Ying city, military prestige without match. The eighth: Han tune Shang Ling changed to Hun Zhu Zi Yin Te, speaking of Dong Hun's government in disorder, Emperor Wu rising in righteousness, pacifying Jiujiang and Guniu, greatly breaking Zhuque, punishing crime and comforting the people. The ninth: Han tune Jiang Jin Jiu changed to Shi Shou Ju, speaking of the righteous army pacifying the capital, thereupon deposing the dark ruler, fixing the great affair. The tenth: Han tune You Suo Si changed to Qi Yun Ji, speaking of Emperor Wu corresponding to the token, receiving abdication, virtue flourishing, transformation reaching far. Eleventh: Han tune Fang Shu changed to Yu Mu, speaking of Great Liang spreading fortune, ministers and ruler harmonious and joyful, resting fortune reaching far. Twelfth: Han tune Shang Ye changed to Wei Da Liang, speaking of Liang's virtue broadly extending, humaneness and transformation harmonized.
108
天監七年，將有事太廟。 詔曰「《禮》雲'齋日不樂'，今親奉始出宮，振作鼓吹。 外可詳議。」 八座丞郎參議，請與駕始出，鼓吹從而不作，還宮如常儀。 帝從之，遂以定制。
In Tianjian year 7, about to have affairs at the Grand Temple. An edict said: "The Rites says 'on fast days no music'—now personally leading the beginning out of the palace, starting impromptu music. Outside, detailed discussion may be requested. The eight seats, assistant directors, and gentlemen jointly discussed, requesting that with the carriage's first departure, impromptu music follow but not play; returning to the palace as usual. The Emperor followed this; thereupon it was fixed as regulation.
109
初武帝之在雍鎮，有童謠雲：「襄陽白銅蹄，反縛揚州兒。」 識者言，白銅蹄謂馬也； 白，金色也。 及義師之興，實以鐵騎，揚州之士，皆面縛，果如謠言。 故即位之後，更造新聲，帝自為之詞三曲，又令沈約為三曲，以被弦管。 帝既篤敬佛法，又制《善哉》、《大樂》、《大歡》、《天道》、《仙道》、《神王》、《龍王》、《滅過惡》、《除愛水》、《斷苦輪》等十篇，名為正樂，皆述佛法。 又有法樂童子伎、童子倚歌梵唄，設無遮大會則為之。
At first when Emperor Wu was in Yong province, a children's ballad said: "Xiangyang white bronze hooves, reverse-bound Yangzhou children. Those who understood said white bronze hooves meant horses; white is gold's color. When the righteous army rose, truly with iron cavalry; Yangzhou's gentlemen all face-bound—indeed as the ballad said. Therefore after receiving the throne, new sounds were further made; the Emperor himself composed three songs, and also ordered Shen Yue to compose three songs, to be set to strings and pipes. The Emperor, being deeply reverent toward Buddhist Law, also composed ten pieces: Shan Zai, Da Yue, Da Huan, Tian Dao, Xian Dao, Shen Wang, Long Wang, Mie Guo E, Chu Ai Shui, Duan Ku Lun and others, named orthodox music—all narrating Buddhist Law. Also there were Dharma Music boy acrobatics, boys leaning-song Sanskrit chant—performed when setting the boundless great assembly.
110
陳初，武帝詔求宋、齊故事。 太常卿周弘讓奏曰：「齊氏承宋，鹹用元徽舊式，宗祀朝饗，奏樂俱同，唯北郊之禮，頗有增益。 皇帝入壝門。 奏《永至》； 飲福酒，奏《嘉胙》； 太尉亞獻，奏《凱容》； 埋牲，奏《隸幽》； 帝還便殿，奏《休成》； 眾官並出，奏《肅成》。 此乃元徽所闕，永明六年之所加也。 唯送神之樂，宋孝建二年秋《起居注》雲'奏《肆夏》'，永明中，改奏《昭夏》。」 帝遂依之。 是時並用梁樂，唯改七室舞辭，今列之雲。
At Chen's beginning, Emperor Wu ordered seeking Song and Qi old precedents. Grand Master of Ceremonies Zhou Hongrang memorialized: "The Qi house inherited Song, all using Yuanhui old forms; ancestral sacrifice and court feasts, playing music all the same—only the northern suburb rite had some additions. When the emperor entered the enclosure gate. Play Yong Zhi; Drinking blessing wine, play Jia Zuo; Grand Commandant second presentation, play Kai Rong; Burying victim, play Li You; Emperor returning to the side hall, play Xiu Cheng; All officials together exiting, play Su Cheng. This is what Yuanhui lacked, added in Yongming year 6. Only the music for sending off spirits—in Song Xiaojian year 2 Daily Records it says 'play Si Xia'; in Yongming changed to play Zhao Xia." The Emperor thereupon followed this. At that time all used Liang music, only changing the seven shrine dance texts—now listed below.
111
皇祖步兵府君神室奏《凱容舞》辭：
Imperial ancestor Infantry Commandery Lord's spirit chamber plays Kai Rong Dance text:
112
于赫皇祖，宮牆高嶷。 邁彼厥初，成茲峻極。 縵樂簡簡，閟寢翼翼。 裸饗若存，惟靈靡測。
How glorious the imperial ancestor; palace walls high and steep. Crossing that beginning; completing this lofty peak. Slow music simple and plain; sealed dwelling wings folded. Unadorned feast as if present; only the spirit cannot be measured.
113
皇祖正員府君神室奏《凱容舞》辭：
Imperial ancestor Regular Attendant Commandery Lord's spirit chamber plays Kai Rong Dance text:
114
昭哉上德，浚彼洪源。 道光前訓，慶流後昆。 神猷緬邈，清廟斯存。 以享以祀，惟祖惟尊。
Bright that upper virtue; dredging that grand source. The Way's light former instruction; celebration flowing to later generations. Spirit plan far and dim; clear temple thus remains. With feast, with sacrifice—only ancestors, only honored.
115
皇祖懷安府君神室奏《凱容舞》辭：
Imperial ancestor Huai'an Commandery Lord's spirit chamber plays Kai Rong Dance text:
116
選辰崇饗，飾禮嚴敬。 靡愛牲牢，兼馨粢盛。 明明列祖，龍光遠映。 肇我王風，形斯舞詠。
Selecting the day, honoring feast; adorning ritual, strict reverence. Not sparing victims; both fragrant grain offerings. Bright bright arrayed ancestors; dragon light reaching far reflected. Beginning our royal wind; giving form to this dance and chant.
117
皇高祖安成府君神室奏《凱容舞》辭：
Imperial great-grandfather Ancheng Commandery Lord's spirit chamber plays Kai Rong Dance text:
118
道遙積慶，德遠昌基。 永言祖武，致享從思。 九章停列，八舞回墀。 靈其降止，百福來綏。
Distant accumulated celebration; virtue far, flourishing foundation. Forever declaring ancestral martial; reaching feast, following thought. Nine sections stopping in ranks; eight dances wheeling back on the terrace. Spirits thereby descending; hundred blessings come to pacify.
119
皇曾祖太常府君神室奏《凱容舞》辭：
Imperial great-great-grandfather Grand Master of Ceremonies Commandery Lord's spirit chamber plays Kai Rong Dance text:
120
肇跡帝基，義標鴻篆。 恭惟載德，瓊源方闡。 享薦三清，筵陳四璉。 增我堂構，式敷帝典。
Beginning trace of the imperial foundation; righteousness marking the grand seal. Respectfully considering loaded virtue; jade source just opening. Feasting and presenting to the Three Pure Ones; mats spread with four jade vessels. Increasing our hall structure; thereby spreading the imperial canon.
121
皇祖景皇帝神室奏《景德凱容舞》辭：
Imperial ancestor Emperor Jing's spirit chamber plays Jingde Kai Rong Dance text:
122
皇祖執德，長髮其祥。 顯仁藏用，懷道韜光。 寧斯閟寢，合此蕭薌。 永昭貽厥，還符翦商。
Imperial ancestor holding virtue; long hair its auspice. Displaying humaneness, storing application; cherishing the Way, hiding light. Peaceful this sealed dwelling; joining this fragrant offering. Forever declaring bequeathal; returning token, cutting Shang.
123
皇考高祖武皇帝神室奏《武德舞》辭：
Imperial father Emperor Wu's spirit chamber plays Wude Dance text:
124
烝哉聖祖，撫運升離。 道周經緯，功格玄祗。 方軒邁扈，比舜陵媯。 緝熙是詠，欽明在斯。
Abundant the sage ancestor; comforting fortune, rising in Li. Way circling warp and woof; merit reaching dark spirits. Square chariot surpassing Hu; compared to Shun, surpassing Gui. Bright brightness is chanted; reverent brightness is here.
125
雲雷遘屯，圖南共舉。 大定揚越，震威衡楚。 四奧宅心，九疇還敘。 景星出翼，非雲入呂。
Cloud and thunder meeting difficulty; charting south, together rising. Great settling Yang and Yue; shaking prestige Heng and Chu. Four inner domains dwelling in heart; nine categories returning to order. Auspicious star issuing from wings; not clouds entering Lü.
126
德暢容辭，慶昭羽綴。 於穆清廟，載揚徽烈。 嘉玉既陳，豐盛斯潔。 是將是享，鴻猷無絕。
Virtue flowing, bearing in speech; celebration bright, feather adornment. How reverent the clear temple; displaying raised emblem and merit. Fine jade already displayed; abundant offerings thus pure. This will feast, this will enjoy—grand plan without end.
127
天嘉元年，文帝始定圓丘、明堂及宗廟樂。 都官尚書到仲舉權奏：「眾官入出，皆奏《肅成》。 牲入出，奏《引犧》。 上毛血，奏《嘉薦》。 迎送神，奏《昭夏》。 皇帝入壇，奏《永至》。 皇帝升陛，奏登歌。 皇帝初獻及太尉亞獻、光祿勳終獻，並奏《宣烈》。 皇帝飲福酒，奏《嘉胙》； 就燎位，奏《昭遠》； 還便殿，奏《休成》。 至太建元年，定三朝之樂，采梁故事：第一，奏《相和》五引，各隨王月，則先奏其鐘。 唯眾官入，奏《俊雅》，林鐘作，太簇參應之，取其臣道也。 鼓吹作。 皇帝出閣，奏《皇雅》，黃鐘作，太簇、夾鐘、姑洗、大呂皆應之。 鼓吹作。 皇太子入至十字陛，奏《胤雅》，太簇作，南呂參應之，取其二月少陽也。 皇帝延王公登，奏《寅雅》，夷則作，夾鐘應之，取其月法也。 皇帝入甯變服，奏《皇雅》，黃鐘作，林鐘參應之。 鼓吹作。 皇帝出甯及升座，皆奏《皇雅》，並如變服之作。 上壽酒，奏《介雅》，太簇作，南呂參應之，取其陽氣盛長，萬物輻湊也。 食舉，奏《需雅》，蕤賓作，大呂參應之，取火主於禮，所謂「食我以禮」也。 撤饌，奏《雍雅》，無射作，中呂參應之，取其津潤已竭也。 武舞奏《大壯》，夷則作，夾鐘參應之，七月金始王，取其堅斷也。 鼓吹引而去來。 文舞奏《大觀》，姑洗作，應鐘參應之，三月萬物必榮，取其布惠者也。 鼓吹引而去來。 眾官出，奏《俊雅》，蕤賓作，林鐘、夷則、南呂、無射、應鐘、太簇參應之。 鼓吹作。 皇帝起，奏《皇雅》，黃鐘作，林鐘、夷則、南呂、無射參應之。 鼓吹作。 祠用宋曲，宴准梁樂，蓋取人神不雜也。 制曰：「可。」
In Tianjia year 1, Emperor Wen first fixed Round Altar, Bright Hall, and ancestral temple music. Director of the Masters of Writing Dao Zhongju provisionally memorialized: "When officials enter and exit, all play Su Cheng. When victims enter and exit, play Yin Xi. Presenting hair and blood, play Jia Jian. Welcoming and sending spirits, play Zhao Xia. When the emperor enters the altar, play Yong Zhi. When the emperor ascends the steps, play ascent song. Emperor's first presentation and Grand Commandant's second presentation, Director of Ceremonies' final presentation—all play Xuan Lie. When the emperor drinks blessing wine, play Jia Zuo; At the burning position, play Zhao Yuan; Returning to the side hall, play Xiu Cheng. Down to Taijian year 1, fixing three court audience music—adopting Liang precedents: first, play Harmonizing Five Introductions, each following the monthly master—then first play its bell. Only when officials enter, play Jun Ya—Linzhong playing, Taicu participating in response, taking the minister's Way. Impromptu music plays. When the emperor exits the side chamber, play Huang Ya—Huangzhong playing, Taicu, Jiazhong, Guxian, Dalü all responding. Impromptu music plays. When the crown prince enters to the cross-shaped steps, play Yin Ya—Taicu playing, Nanlü participating in response, taking its second month's lesser yang. When the emperor extends to kings and dukes ascending, play Yin Ya—Yize playing, Jiazhong responding, taking its monthly method. When the emperor enters the resting chamber to change robes, play Huang Ya—Huangzhong playing, Linzhong participating in response. Impromptu music plays. When the emperor exits the chamber and ascends the seat, all play Huang Ya—same as the robe-changing performance. At the longevity wine, play Jie Ya—Taicu playing, Nanlü participating in response, taking its yang qi flourishing long, myriad things converging. At food presentation, play Xu Ya—Ruibin playing, Dalü participating in response, taking fire mastering ritual—what is called "feeding me with ritual." At clearing dishes, play Yong Ya—Wushe playing, Zhonglü participating in response, taking its moisture already exhausted. Martial dance plays Great Zhuang—Yize playing, Jiazhong participating in response; seventh month metal begins mastery, taking its firm cutting. Impromptu music leading back and forth. Civil dance plays Great Guan—Guxian playing, Yingzhong participating in response; third month myriad things must flourish, taking its spreading bounty. Impromptu music leading back and forth. When officials exit, play Jun Ya—Ruibin playing, Linzhong, Yize, Nanlü, Wushe, Yingzhong, Taicu all participating in response. Impromptu music plays. When the emperor rises, play Huang Ya—Huangzhong playing, Linzhong, Yize, Nanlü, Wushe all participating in response. Impromptu music plays. For sacrifice use Song tunes; for feasts follow Liang music—generally taking human and spirit not mixed. Imperial decree: "Approved."
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五年，詔尚書左丞劉平、儀曹郎張崖定南北郊及明堂儀注。 改天嘉中所用齊樂，盡以韶為名。 工就位定，協律校尉舉麾，太樂令跪贊雲：「奏《懋韶》之樂。」 降神，奏《通韶》； 牲入出，奏《潔韶》； 帝入壇及還便殿，奏《穆韶》。 帝初再拜，舞《七德》，工執幹楯，曲終複綴。 出就懸東，繼舞《九序》，工執羽籥。 獻爵于天神及太祖之座，奏登歌。 帝飲福酒，奏《嘉韶》； 就望燎，奏《報韶》。
In year 5, ordered Left Assistant Director Liu Ping and Gentleman of Ritual Affairs Zhang Ya to fix southern and northern suburb and Bright Hall ritual regulations. Changed the Qi music used in Tianjia to all take Shao as name. Performers in position fixed; pitch-harmonizing adjutant raises the baton; Grand Music Director kneels praising: "Play Mao Shao music. Sending down spirits, play Tong Shao; When victims enter and exit, play Jie Shao; When the emperor enters the altar and returns to the side hall, play Mu Shao. Emperor's first two bows—dance Seven Virtues; performers holding shields and spears; at song's end, repeat and join. Exit toward the east of the suspension, then dance Nine Sequence; performers holding feathers and flutes. Presenting goblets to the Heaven spirit and Grand Ancestor's seat, play ascent song. When the emperor drinks blessing wine, play Jia Shao; Approaching the burning outlook, play Bao Shao.
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至六年十一月，侍中尚書左僕射、建昌侯徐陵，儀曹郎中沈罕奏來年元會儀注，稱舍人蔡景曆奉敕，先會一日，太樂展宮懸、高糸亙、五案於殿庭。 客入，奏《相和》五引。 帝出，黃門侍郎舉麾于殿上，掌故應之，舉於階下，奏《康韶》之樂。 詔延王公登，奏《變韶》。 奉珪璧訖，初引下殿，奏亦如之。 帝興，入便殿，奏《穆韶》。 更衣又出，奏亦如之。 帝舉酒，奏《綏韶》。 進膳，奏《侑韶》。 帝禦茶果，太常丞跪請進舞《七德》，繼之《九序》。 其鼓吹雜伎，取晉、宋之舊，微更附益。 舊元會有黃龍變、文鹿、師子之類，太建初定制，皆除之。 至是蔡景曆奏，悉複設焉。 其制，鼓吹一部十六人，則簫十三人，笳二人，鼓一人。 東宮一部，降三人，簫減二人，笳減一人。 諸王一部，又降一人，減簫一。 庶姓一部，又降一人，複減簫一。
Down to the eleventh month of year 6, Attendant Cavalier Xu Ling and Gentleman of Ritual Affairs Shen Han memorialized next year's New Year assembly ritual regulations, saying Palace Attendant Cai Jingli received the edict: one day before the assembly, Grand Music displays court bell-set, high rope, five stands in the hall courtyard. When guests enter, play Harmonizing Five Introductions. When the emperor exits, the Palace Gentleman raises the baton in the hall; the music master responds, raising at the steps below—play Kang Shao music. Edict extending to kings and dukes ascending, play Bian Shao. Presenting jade disks finished, first leading below the hall—playing also the same. When the emperor rises, entering the side hall, play Mu Shao. Changing robes and exiting again—playing also the same. When the emperor raises wine, play Sui Shao. Presenting dishes, play You Shao. When the emperor receives tea and fruit, Grand Master of Ceremonies Assistant kneels requesting advancing dance Seven Virtues, followed by Nine Sequence. Its impromptu acrobatics took Jin and Song old forms, slightly changed and supplemented. Formerly the New Year assembly had yellow dragon transformation, patterned deer, lion and similar types—in Taijian early fixed regulations, all were removed. At this time Cai Jingli memorialized—all were restored. Its regulation: one impromptu music section sixteen persons—thirteen xiao players, two jia players, one drum player. Eastern Palace one section, reduced three persons—xiao reduced two, jia reduced one. Kings one section, again reduced one person, xiao reduced one. Common surname one section, again reduced one person, again xiao reduced one.
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及後主嗣位，耽荒於酒，視朝之外，多在宴筵。 尤重聲樂，遣宮女習北方簫鼓，謂之《代北》，酒酣則奏之。 又于清樂中造《黃鸝留》及《玉樹後庭花》、《金釵兩臂垂》等曲，與幸臣等制其歌詞，綺豔相高，極於輕薄。 男女唱和，其音甚哀。
When the Later Lord succeeded, indulging in wine, outside court audiences mostly at banquets. Especially valuing sound and music, sending palace women to learn northern xiao and drums, called Dai Bei—when deep in wine then playing it. Also among clear music made Yellow Oriole Staying, Jade Tree Courtyard Flower, Golden Hairpin Two Arms Hanging and other tunes—with favorite ministers composing their song texts, ornate and lofty mutually surpassing, extreme in lightness and frivolity. Men and women singing in alternation—its sound very mournful.