86 t He Han Dy na s t y
Hanging high are quadrangular frames, 高張四縣 (gāo zhāng sì xuán)
4 Music fills the courtyard. 樂充宮庭 (yuè chōng gōng tíng)
Fragrant trees and decorative plumes, 芬樹羽林 (fēn shù yŭ lín)
6 Darken the area like clouds and shadows. 雲景杳冥 (yún yĭng yăo míng)
Golden boughs and flourishing flowers, 金支秀華 (jīn zhī xiù huā)
8 Numerous yak-tail flags and kingfisher
banners! 庶旄翠旌 (shù máo cuì jīng)
The Seven Beginnings and the Beginning
of Quintessence of Myriad Things, 七始華始 (qī shĭ huā shĭ)
10 Are sung solemnly in harmony. 肅倡和聲 (sù chàng hé shēng)
The gods will come enjoying the banquet, 神來晏娭 (shén lái yàn xī)
12 We sincerely hope they will listen to the
music. 庶幾是聽 (shù jī shì tīng)
[HS 22.1046]The standard, punctuated Han shu version of the poem ends at line 8; however,
I have followed Wang Xianqian (1842–1918) and Lu Qinli (1911–1973) by adding
the four lines that, in the 1962 Zhonghua edition, belong to the second song. This
first song begins by praising filial piety and continues with an elaborate depiction
of the frames for musical instruments, decorative plumes, and banners. According
to the commentary of Meng Kang (ca. 180–260), the “Seven Beginnings” (Qi shi
[heaven, earth, the four seasons, and man]) and the “Beginning of Quintessence of
Myriad Things” refer to musical pieces. Judging from their titles, they were prob-
ably used to celebrate the imperial ancestors, the beginning of the royal lineage.
Scholars have pointed out that “Songs to Pacify the World” especially emphasize
filial piety and virtue, which are key concepts deeply rooted in the culture of the
Zhou and Qin dynasties in general. The poem therefore contains a moral message,
conveyed through a combination of music, poetry, ritual, and ethical codes. Not
until the last few lines is the reader informed about the arrival of the gods. It then
becomes clear that the musical instruments and decorations are displayed for the
purpose of sacrifices and ritual. This first song is designed to invite the gods or the
ancestors to descend to the temple; thus the luxurious display of musical instru-
ments is proper. Wang Xianqian has suggested that lines 5 and 6 do not refer to
musical instruments; rather, they are descriptive of the numerous gods.8 But from
the context, it seems that both interpretations are acceptable. The content of poem
no. 3 further proves that this set of poems must have been written to extol the Han
ancestors:C 4. 2
Songs to Pacify the World, for Inside the Palace, No. 3We set the calendar, 我定曆數 (wŏ dìng lì shù)
2 Informing my subjects what is on our mind. 人告其心 (rén gào qí xīn)