【閱前提醒】本篇專(zhuān)欄的外語(yǔ)原文部分出自蘇格蘭經(jīng)學(xué)家理雅各所著的《The Chinese Classics》。理雅各先生出生于1815年（清嘉慶二十年），一生致力于中西方文化的交流，其最重要的成果就是詳盡譯釋了種花家傳統(tǒng)經(jīng)典。由于理雅各先生的本職是傳教士，故其譯作與眾不同，采用的竟是“譯經(jīng)為次，釋經(jīng)為要”的翻譯方針，這種緊抓釋經(jīng)權(quán)的翻譯模式至今仍是獨(dú)一份。不過(guò)由于理雅各的譯作卷帙浩繁，因此目前人們常常刪去釋經(jīng)只取譯文。但我感覺(jué)此書(shū)的釋經(jīng)部分才是精華，直接丟棄實(shí)在是有些買(mǎi)櫝還珠了。因此就計(jì)劃用業(yè)余時(shí)間對(duì)理雅各的部分原文進(jìn)行一些小整理。當(dāng)然此書(shū)規(guī)模實(shí)在浩繁，以我的業(yè)余精力和水平，只能是整理多少算多少，整理成什么樣算什么樣！

1、詩(shī)經(jīng)THE SHE KING

【理釋】TITLE OF THE WHOLE WORK.-詩(shī)經(jīng)，'The Book of Poems',or simply,'The Poems'.By poetry, according to the Great Preface and the views generally of Chinese scholars,is denoted the expression,in rhymed words,of thought impregnated with feeling; which,so far as it goes,is a good account of this species of composition.In the collection before us, there were originally 311 pieces;but of six of them there are only the titles remaining.They are generally short;not one of them,indeed,is a long poem.Father Lacharme calls the Book-'Liber Carminum',and with most English writers the ordinary designation of it has been 'The Book of Odes.'I can think of no better name for the several pieces than Ode,understanding by that term a short lyric poem.Confucius himself is said to have 'fitted them to the string'

【山譯】整部作品的標(biāo)題——詩(shī)經(jīng)，可直譯為“關(guān)于詩(shī)歌的書(shū)”或直接翻譯為“詩(shī)歌”。根據(jù)《毛詩(shī)大序》和中國(guó)學(xué)者的普遍觀點(diǎn)，詩(shī)歌是指充滿感情的思想表達(dá)的有韻律的文字。就目前來(lái)看，這是對(duì)于這類(lèi)作品的最好的定義。這部詩(shī)集中共有311篇作品，但是其中有六篇只剩下標(biāo)題。這些詩(shī)歌一般較短，而其中的確沒(méi)有長(zhǎng)詩(shī)。孫璋(Lacharme)神父將這部書(shū)翻譯為“Liber?Carminum”〖山注||? 此為拉丁譯名〗，而很多英語(yǔ)作家的對(duì)這本書(shū)的譯名是“The Book of Odes”。我（理雅各）認(rèn)為對(duì)于這些短抒情詩(shī)沒(méi)有比“Ode”（頌歌）更適合的翻譯了。而據(jù)說(shuō)孔夫子就曾經(jīng)為它們配上弦曲以歌之（孔子皆弦歌之）。

【山注】Lacharme神父將書(shū)名翻譯為“Liber?Carminum”，這個(gè)其實(shí)是拉丁語(yǔ)翻譯，不過(guò)因?yàn)長(zhǎng)iber可英語(yǔ)翻譯為“書(shū)籍”因此我誤以為是英語(yǔ)譯名，然后……死活找不到Carminum的意思，而正好原文此處有幾個(gè)字母不清晰，所以我以為是字母認(rèn)錯(cuò)了，于是就開(kāi)始了一段崩潰之旅。我先用模糊查詞，查不到，還以為是我的方法錯(cuò)了，立刻讀詞典說(shuō)明書(shū)，嘗試許久仍然查不出。然后我一發(fā)狠就開(kāi)始對(duì)著26個(gè)字母挨個(gè)試，但還是不行。直到順手多翻了幾頁(yè)網(wǎng)頁(yè)才無(wú)意中發(fā)現(xiàn)了一篇解析拉丁語(yǔ)版詩(shī)經(jīng)譯作的網(wǎng)貼，其標(biāo)題正是“Liber?Carminum”，這才意識(shí)到問(wèn)題，一檢查發(fā)現(xiàn)網(wǎng)絡(luò)版搜狗翻譯沒(méi)有拉丁文選項(xiàng)，這才又搜了一個(gè)拉丁文線上查詞網(wǎng)站，最終查到了，Carminum就是詩(shī)歌的意思。

【山注】'fitted them to the string'的第一個(gè)單詞由于不好辨認(rèn)，因此遼人版將其識(shí)別成“hued”，但詞性不太對(duì)，因此我就對(duì)著影印版一通窮舉識(shí)別，然后判斷很大概率是“fitted”，故改之！此句話應(yīng)該是史記孔子世家中“孔子皆弦歌之”的翻譯。〖山錄||《卷四十七·孔子世家第十七》——三百五篇孔子皆弦歌之，以求合韶武雅頌之音。禮樂(lè)自此可得而述，以備王道，成六藝?！?/span>

2、毛詩(shī)大序THE GREAT PREFACE

? ? ? ? 詩(shī)者，志之所之也，在心為志，發(fā)言為詩(shī)。情動(dòng)于中而行于言，言之不足，故嗟嘆之，嗟嘆之不足故永歌之，永歌之不足，不知手之舞之，足之蹈之也。

? ? ? ? 情發(fā)于聲，聲成文謂之音。治世之音安以樂(lè)，其政和；亂世之音怨以怒，其政乖；亡國(guó)之音哀以思，其民困。故正得失，動(dòng)天地，感鬼神，莫近于詩(shī)。先王以是經(jīng)夫婦，成孝敬，厚人倫，美教化，移風(fēng)俗。

? ? ? ? 故詩(shī)有六義焉：一曰風(fēng)，二曰賦，三曰比，四曰興，五曰雅，六曰頌。上以風(fēng)化下，下以風(fēng)刺上，主文而譎諫，言之者無(wú)罪，聞之者足以戒，故曰風(fēng)。至于王道衰，禮義廢，政教失，國(guó)異政，家殊俗，而變風(fēng)變雅作矣。國(guó)史明乎得失之跡，傷人倫之廢，哀刑政之苛，吟詠情性，以風(fēng)其上，達(dá)于事變而懷其舊俗者也。故變風(fēng)發(fā)乎情，止乎禮義。發(fā)乎情，民之性也；止乎禮義，先王之澤也。是以一國(guó)之事，系一人之本，謂之風(fēng)；言天下之事，形四方之風(fēng)，謂之雅。雅者，正也，言王政之所由廢興也。政有大小，故有小雅焉，有大雅焉。頌者，美盛德之形容，以其成功告于神明者也。是謂四始，詩(shī)之至也。

【山注】關(guān)于《毛詩(shī)大序》的篇幅，歷代都是有爭(zhēng)議的，主要是原序沒(méi)有獨(dú)立成篇，而是直接寫(xiě)在關(guān)雎篇中了。此處我采用的是理雅各選用的這一版，這一版中刪去的原序語(yǔ)句，被歸入《毛詩(shī)小序》中了。

3、理雅各英譯《毛詩(shī)大序》

（01）詩(shī)者，志之所之也，在心為志，發(fā)言為詩(shī)。

Poetry is the product of earnest thought.Thought [cherished]in the mind becomes earnest;exhibited in words,it becomes poetry.

（02）情動(dòng)于中而行于言，言之不足，故嗟嘆之，嗟嘆之不足故永歌之，永歌之不足，不知手之舞之，足之蹈之也。

The feelings move inwardly,and are embodied in words.When words are?insufficient for them,recourse is had to sighs and exclamations.When sighs and?exclamations are insufficient for them,recourse is had to the prolonged utterances?of song.When those prolonged utterances of song are insufficient for them,unconsciously the hands begin to move and the feet to dance.

（03）情發(fā)于聲，聲成文謂之音。治世之音安以樂(lè)，其政和；亂世之音怨以怒，其政乖；亡國(guó)之音哀以思，其民困。

The feelings go forth in sounds.When those sounds are artistically combined,we have what is called musical pieces.The style of such pieces in an age of?good order is quiet,going on to be joyful;-the government is then a harmony.Their style in an age of disorder is resentful,going on to the expression of anger;the government is then a discord.Their style,when a State is going to ruin,is?mournful,with the expression of [retrospective]thought;-the people are then in distress.

（04）故正得失，動(dòng)天地，感鬼神，莫近于詩(shī)。

Therefore,correctly to set forth the successes and failures [of government],to move Heaven and Earth,and to excite spiritual Beings to action,there is no?readier instrument than poetry.

（05）先王以是經(jīng)夫婦，成孝敬，厚人倫，美教化，移風(fēng)俗。

The former kings by this regulated the duties of husband and wife,effectually?inculcated filial obedience and reverence,secured attention to all the relations of?society,adorned the transforming influence of instruction,and transformed manner?sand customs.

（06）故詩(shī)有六義焉：一曰風(fēng)，二曰賦，三曰比，四曰興，五曰雅，六曰頌。

Thus it is that in the [Book of]Poems there are six classes:-first,the?Fung;second,descriptive pieces;third,metaphorical pieces;fourth,allusive pieces;fifth,the Ya;and sixth,the Sung.

（07）上以風(fēng)化下，下以風(fēng)刺上，主文而譎諫，言之者無(wú)罪，聞之者足以戒，故曰風(fēng)。

Superiors,by the Fung,transformed their inferiors,and inferiors,by them,satirized their superiors.The principal thing in them was their style,and reproof?was cunningly insinuated.They might be spoken without giving offence,and the?hearing of them was sufficient to make men careful of their conduct;-hence they?are called Fung,[or Lessons of manners.

（08）至于王道衰，禮義廢，政教失，國(guó)異政，家殊俗，而變風(fēng)變雅作矣。

When the administration of the kings fell into decay,the rules of propriety and?righteousness were neglected,the instructions of government failed of effect,different methods of government obtained in different States,and the customs of the[great]Families in them had come to vary;-then the changed (or inferior)Fung,and the inferior Ya,were made.

（09）國(guó)史明乎得失之跡，傷人倫之廢，哀刑政之苛，吟詠情性，以風(fēng)其上，達(dá)于事變而懷其舊俗者也。

The historiographers of the States,understanding the indications of success?and failure,pained by the changes in the observance of the relations of society,and?lamenting the severity of punishments and of [the general]government,gave expression in mournful song to their feelings,to condemn their superiors;-they were?intelligent as to the changes of circumstances,and cherished [the recollection of]the?ancient customs.

（10）故變風(fēng)發(fā)乎情，止乎禮義。發(fā)乎情，民之性也；止乎禮義，先王之澤也。

Thus it is that the Fung of a state of change,though produced by the feelings,do not go beyond the rules of propriety and righteousness.That they should be produced by the feelings was in the nature of the people;that they.should not go beyond those rules was from the beneficent influence of the former kings.

（11）是以一國(guó)之事，系一人之本，謂之風(fēng)。

Therefore,the pieces in which the affairs of one State are connected withthe person of one man,are called the Fung.

（12）言天下之事，形四方之風(fēng)，謂之雅。雅者，正也，言王政之所由廢興也。政有大小，故有小雅焉，有大雅焉。

The pieces which speak of the matters of the kingdom,and represent the?customs of its whole extent,are called the Ya.Ya means correct.They tell the?causes why royal government decays or four?is?hes.In government there are great?matters and small,and hence there are the small Ya and the great Ya.

（13）頌者，美盛德之形容，以其成功告于神明者也。

The Sung are so called,because they praise the embodied forms of complete?virtue,and announce to spiritual Beings its grand achievements.

（14）是謂四始，詩(shī)之至也。

These are called the four primary [divisions of the Book of Poems];[in them?we have]the perfection of poetry.

4、理雅各釋經(jīng)《毛詩(shī)大序》

【1-1】This paragraph has been referred to in Ch.I.more than once,as taken from the ‘Official Book of Chow’.If we had not the Book of Poetry to help us in determining its meaning,we should never be able to make it out from the text itself.We should conclude that anciently there were six classes of poems,called the Fung,the Foo,the Pe,the Hing,the Ya,and the Sung.So it appears in Biot's translation of the Official Book:-'Ⅰl?enseigne aux musiciens les six sortes de chants notes.qui sont appeles?Fong,Fou,Pi,Hing,Ya,Sung.'?〖山注||? 理雅各引用的這句是法譯?！?/span>But the names Fung,Ya,andSung are those of the three Parts into which theShe-king is divided,intended to indicate a difference in the subject-matter of the pieces composing them;while Foo,Pe,and Hing are the names applied to those pieces,intended to denote the form or style of their composition.They may,all of them,be found equally in all the Parts.As Kea Kung-yen(賈公彥；Tang dyn).says:-風(fēng)雅頌詩(shī)之名也，但就三者之中有賦比興故總謂之六詩(shī)。The Fung,Ya,and Sung are,in Chinese phraseology,the warp of the Book of Poetry,and the Foo,Pe,and Hing are its woof.

【山譯】（毛詩(shī)大序）這一段已在《尚書(shū)·周書(shū)》（理雅各注釋版）的第1章中提到過(guò)不止一次。如果我們沒(méi)有《詩(shī)經(jīng)》來(lái)幫助我們確定它（毛詩(shī)大序）的意義，我們將永遠(yuǎn)無(wú)法從（毛詩(shī)大序）文本本身理解它（毛詩(shī)大序）。我們可以得出結(jié)論，（中國(guó)）古代有六種詩(shī)體，稱為風(fēng)、賦、比、興、雅、頌。它們?cè)诋厞W翻譯的官方書(shū)籍中，被譯作“教音樂(lè)家六種歌曲，這是所謂的風(fēng)、賦、比、興、雅、頌?！?strong>但是風(fēng)、雅、頌是《詩(shī)經(jīng)》的三個(gè)部分，意在表明組成它們的作品主題的不同；而賦、比、興是這些作品的名稱，意在表示其作品的形式或風(fēng)格。風(fēng)雅頌賦比興之間是平等的，正如唐代賈公彥所說(shuō)【風(fēng)雅頌詩(shī)之名也，但就三者之中有賦比興故總謂之六詩(shī)】可以這樣理解，風(fēng)雅頌是詩(shī)經(jīng)的經(jīng)線，賦比興是詩(shī)經(jīng)的緯線。

【1-2】I have entered sufficiently on the meaning of the terms Fung,Ya,and Sung in the notes on the titles of the different Parts;but it may be well to discuss here the significance of the terms Foo,Pe,and Hing more fully than I have else where done.

【山譯】我們已經(jīng)充分了解了分部標(biāo)題中風(fēng)雅頌的意思，因此我們需要在這里更充分的討論賦比興的含義。

【1-3】The term Foo needs little explanation.It is descriptive of a narrative piece,in which the poet says what he has to say right out,writing it down in a simple straightforward manner,without any hidden object.There is no meaning intended beyond what the words express,excepting in so far as we may infer from what is said the state of mind or the circumstances of the writer or subject.Odes 2 and 3 of Pt.Ⅰ.Bk.Ⅰ.,are of this class,according to the view of them taken by Choo He,which I have followed;and other instances of the Foo,about which there can be no doubt,are to be found everywhere.

【山譯】“賦”幾乎不用解釋。它就是直接對(duì)事情進(jìn)行照實(shí)描述，詩(shī)人說(shuō)出其想要說(shuō)的話，并用簡(jiǎn)單直接的文字不加任何隱晦的寫(xiě)出來(lái)。表達(dá)出的意思不會(huì)超出原文字表達(dá)的范疇，我們可以直接從詩(shī)文中推斷出作者和描寫(xiě)對(duì)象所處的情況和環(huán)境。朱熹認(rèn)為國(guó)風(fēng)第一卷周南的第2、3首《葛覃》《卷耳》都是“賦”的典型例子，我（理雅各）也認(rèn)同朱熹的觀點(diǎn)。毫無(wú)疑問(wèn)，除了這兩首詩(shī)外，其他詩(shī)中很容易就可以“賦”的例子。

【山錄】《詩(shī)經(jīng)集傳·葛覃篇》（宋·朱熹）——賦也。葛，草名。蔓生可為絺绤者。覃，延。施，移也。……賦者，敷陳其事，而直言之者也。蓋后妃旣成絺绤而賦其事，追敘初夏之時(shí)，葛葉方盛，而有黃鳥(niǎo)鳴于其上也。后凡言賦者，放此。

【山錄】《詩(shī)經(jīng)集傳·卷耳篇》（宋·朱熹）——賦也。……卷耳，枲耳。葉如鼠耳。叢生如盤(pán)?！箦跃硬辉冢寄钪?。故賦此詩(shī)托言。

【1-4】I have called the Pe metaphorical pieces. They must be translated as we translate the Foo;but the writer has under the language a different meaning altogether from what it expresses,—a meaning which there should be nothing in the language to indicate.The metaphorical piece in the She may thus be compared to the AEsopic fable〖此處應(yīng)該是伊索寓言，開(kāi)頭兩個(gè)字母大寫(xiě)，不是我誤寫(xiě)，而是影印版中就這樣，并且影印版AE還是合體縮寫(xiě)；另外我也發(fā)現(xiàn)，此書(shū)單詞中如果出現(xiàn)小寫(xiě)ae有時(shí)會(huì)直接縮寫(xiě)成?〗;but while it is the object of the fable to enforce the virtues of morality and prudence,an historical interpretation is to be sought for the pe.There is,e.g,ode 5 of Part.Ⅰ.Bk.Ⅰ.,in the letter of which we find only locusts and their wonderful increase;while we are taught that the poet had in his mind the wife of king Wan and the fruitfulness of his?harem. Ode 2 of Pt.Ⅰ.Bk.XV.is another purely metaphorical piece,where we seem to hear only the plaint of a bird,whose young,reared by her with toil,have been destroyed by an owl,and who is afraid that her nest also will be destroyed;but we know from the Shoo that the duke of Chow intended himself by the bird,and that he wished in the piece to vindicate the stern course which he had adopted to put down rebellion.As Choo He says:-比是以一物比一物，而所指之事，常在言外。

【山譯】“比”可解釋為隱喻。翻譯時(shí)和“賦”的翻譯一樣，需照實(shí)翻譯。但在表面文字之下隱藏著作者想表達(dá)的不同的意思，甚至可能是表面文字中完全沒(méi)有的表達(dá)。詩(shī)中的隱喻可以媲美伊索寓言。不同的是，寓言的目的只是提倡道德和美德，而詩(shī)中的“比”往往需要從歷史人物和事件中尋找解釋。例如國(guó)風(fēng)第一卷周南的第5篇《螽斯》，如果我們通過(guò)表面文字只能看到蝗蟲(chóng)和其驚人的繁殖速度，但作者內(nèi)心想表達(dá)的是周文王妻妾的多子。再比如國(guó)風(fēng)第十五卷豳風(fēng)第2篇《鴟鸮》，也是一個(gè)飽含隱喻的作品，從表面上看這首詩(shī)是描寫(xiě)一直鳥(niǎo)的哀鳴，它辛勤撫養(yǎng)的幼鳥(niǎo)被貓頭鷹傷害，它此時(shí)擔(dān)心自己的巣也會(huì)被破壞。但我們根據(jù)尚書(shū)知道這是周公自比此鳥(niǎo)，從而表達(dá)自己準(zhǔn)備用鐵腕鎮(zhèn)壓叛亂〖山注||《尚書(shū)·金縢》記載，武王臨終托孤幼子成王于周公。但主少國(guó)疑，待成王繼位后，管叔立刻與自己的兄弟在國(guó)內(nèi)四處造謠，說(shuō)周公將對(duì)成王不利，然后周公作《鴟鸮》以向成王表達(dá)心意?！?/span>。正如朱熹所說(shuō)：“比是以一物比一物，而所指之事，常在言外?！?strong>〖山注||? 此言出自《朱子語(yǔ)類(lèi)·卷八十·詩(shī)一》?！?/span>

【山錄】《詩(shī)經(jīng)集傳·螽斯篇》（宋·朱熹）——比也。螽斯，蝗屬。長(zhǎng)而青，長(zhǎng)角長(zhǎng)股，能以股，相切作聲。一生九十九子。比者，以彼者比此物也。后妃不妬忌，而子孫眾多。故眾妾以螽斯之羣處和集，而子孫眾多，比之。言其有是德，而宜有是福也。

【山錄】《尚書(shū)·金縢》——武王既喪，管叔及其群弟乃流言于國(guó)，曰：“公將不利于孺子?！敝芄烁娑唬骸拔抑?/span>弗辟，我無(wú)以告我先王。”周公居?xùn)|二年，則罪人斯得。于后，公乃為詩(shī)以貽王，名之曰《鴟鸮》。王亦未敢誚公。

【山錄】《朱子語(yǔ)類(lèi)·卷八十·詩(shī)一》——比是以一物比一物，而所指之事常在言外。興是借彼一物以引起此事，而其事常在下句。但比意雖切而卻淺，興意雖闊而味長(zhǎng)。

【1-5】The Hing,or allusive piece,commences with a couple of lines,which are repeated often through all the stanzas,as a sort of refrain.They are generally descriptive of something in the animal or the vegetable world;and after them the writer proceeds to his proper?subject.Often the allusive lines convey a meaning harmonizing with that of the lines which follow,as in Ⅰ.i.ⅠV.;where an English poet would begin the verses with a Like or As.They are in fact metaphorical.But the difference between an allusive and a metaphorical piece is,that in the lines following the allusive lines the author states directly the theme he is occupied with,whereas the lines of the metaphorical piece are all of the same character.After the sentence on the Pe which I quoted above from Choo He,he goes on to say on the Hing:-興是借彼一物以引起此事，而其事常在下句.often,however,we cannot discover any metaphorical element in the allusive lines,and can only deal with them as a refrain.Where there is a metaphorical element,the piece is described as興之兼比者；where there is no such?element,it is興之不兼比者-Occasionally the three styles all come together in one Ode.

【山譯】“興”是一種暗示，通常以幾句開(kāi)始，然后作為一種疊句在各節(jié)反復(fù)出現(xiàn)〖山注||? 疊句和興有相關(guān)性的這個(gè)說(shuō)法我還沒(méi)有找到依據(jù)，暫時(shí)闕疑〗。起興的內(nèi)容一般是動(dòng)植物，然后引出作者想要表達(dá)的主題。正如國(guó)風(fēng)第一周南的第三篇《樛木》，詩(shī)經(jīng)中一般暗含他意的起興內(nèi)容與后面表達(dá)出的內(nèi)容是相關(guān)的，就如英國(guó)詩(shī)人使用like和as來(lái)進(jìn)行隱喻一般。一般興在實(shí)際上是具有隱喻性的，但用來(lái)暗示的興與用來(lái)隱喻的比之間還是具有一定的區(qū)別，興后面的句子作者會(huì)直接陳述他要表達(dá)的主題，而比的隱喻內(nèi)容則要與后面的內(nèi)容有一些相似的特征。在我上一段引用的朱熹關(guān)于比的說(shuō)法，后面還有一句關(guān)于興的：“興是借彼一物以引起此事，而其事常在下句?！钡俏覀兂３Ｔ谂d中找不到其想要隱喻的成分，因此只能作為疊句經(jīng)行處理。有隱喻比的興種，一般被稱為“興之兼比者”，否則被稱為“興之不兼比者”，偶爾在同一首詩(shī)中會(huì)同時(shí)出現(xiàn)比、興之兼比、興之不兼比三種情況。

【山錄】《國(guó)風(fēng)·周南·樛木》——南有樛木，葛藟累之。樂(lè)只君子，福履綏之。/??南有樛木，葛藟荒之。樂(lè)只君子，福履將之。/??南有樛木，葛藟縈之。樂(lè)只君子，福履成之。

【山錄】嚴(yán)粲《詩(shī)輯》——凡言興也者皆兼比， 興之不兼比者特表之 ?！对?shī)紀(jì)》 曰：風(fēng)之 義易見(jiàn) ， 惟興與比相近而難辨。興多兼比 ， 比不兼興 。 意有余者興也 ， 直比之者比也。 興之兼比者徒以為比則失其意味矣，興之不兼比者誤以為比則失之穿鑿矣。毛氏特言興也 ，為其理隱故也 。

【2-1】I do not know when the distinction of the odes of Parts?Ⅰ.,Ⅱ.,and Ⅲ.,into Correct and Changed,or Pieces of an age of good government,and Pieces of a degenerate age,took its rise.We find it here in the Preface;but the age of the Preface is uncertain.The distinction is misleading.There are both in the Fung and the Ya many odes of a changed character,which by their spirit and style are equal to any of those that are ranked in the better class.

【山譯】我并不知道從什么時(shí)候開(kāi)始第一部分風(fēng)和第二三部分雅中的詩(shī)歌關(guān)于正確和改變的區(qū)分開(kāi)始顯著〖山注||? 這里指的是毛詩(shī)大序中有當(dāng)社會(huì)出現(xiàn)不正確的時(shí)候會(huì)“變風(fēng)變雅”的說(shuō)法〗。我們可以從毛詩(shī)序中找到的這些關(guān)于區(qū)分的內(nèi)容，但是這個(gè)序的寫(xiě)作時(shí)間并不確定。因此這種區(qū)分是具有誤導(dǎo)性的。風(fēng)與雅中有很多被認(rèn)為是變風(fēng)變雅的詩(shī)篇，但它們無(wú)論在形式上還是在精神內(nèi)涵上都本應(yīng)和較好的那一級(jí)詩(shī)篇相當(dāng)。

【3-1】 This paragraph would seem to attribute the odes to the historiographers of the royal and other courts;-a view which is maintained nowhere else.

【山譯】毛詩(shī)大序似乎將詩(shī)經(jīng)中的詩(shī)篇的歸于皇家和官方。但其他地方并沒(méi)有這個(gè)說(shuō)法。

【4-1】This is a very incomplete account of the Sung,and leaves the anomaly of the Sung of Loo,as placed along with those of Chow and Shang,unaccounted for.See on the title of Pt.ⅠV.,Bk.II.

【山譯】毛詩(shī)大序關(guān)于頌的論述很不完善，無(wú)法解釋魯頌的異常，魯頌位于周頌和商頌之間，此可參見(jiàn)第四部分頌的第二魯頌?！忌阶|? 魯頌比較怪異的是其從內(nèi)容上說(shuō)是風(fēng)，從地位上說(shuō)，魯根本沒(méi)有資格和周商并列，故此處理雅各認(rèn)為毛詩(shī)序關(guān)于頌的定義和論述無(wú)法解釋魯頌的怪異〗