The songs and dances of sacrificial ceremonies in the southern suburbs have been practiced since the Han Dynasty and continued afterwards. This is evident in the "Book of Han." Five suburban temples take turns hosting performances. The songs and dances of the Wei Dynasty are not documented, but it is believed they continued the practices from the Han Dynasty. In the second year of the Taishi reign of Emperor Wu of Jin, a grand sacrificial ceremony took place at the Mingtang, where the emperor ordered that the sacrificial rituals should adhere to the ceremonial system established during the Zhou Dynasty and maintained during the Shang Dynasty, but the music and dance ceremonies were based on those of the Wei Dynasty. Later, Fu Xuan composed two poems, "Evening Sacrificial Songs to Heaven and Earth in the Five Suburbs" and "Welcoming the God Song." Emperor Wen of the Song Dynasty also had Yan Yanzhi compose three poems, "Evening Sacrifice to Heaven," "Welcoming and Sending Off the God," and "Feasting the God Song," thus, it can be said that the early Song Dynasty revived the traditions of the Jin Dynasty. In the second year of Jianyuan, the relevant department proposed that the ceremonial music and songs of the suburban temples had previously been composed by scholars, but now they needed to be collected, sorted, and re-selected. They requested the emperor to mandate that all scholars skilled in rituals participate in the composition. Some suggested, "The hymns for the Grand Temple should be composed by Minister of Works Zhu Yuan, and the rest should be written by the Chamberlain for Law Enforcement Xie Chaozong." Xie Chaozong's compositions largely omitted those of Yan Yanzhi and Xie Zhuang, presenting them as new music, and changed the names of the music. In the second year of Yongming, Prince's Infantry Colonel Fu Manrong submitted a memorial suggesting that all talented Confucian scholars nationwide be summoned to revise and organize the ceremonial music. The emperor ordered the relevant departments to conduct a detailed study, but it was ultimately never implemented. Ministers entered and exited, performing the "Music of Solemnity and Harmony": "Receiving the precious mandate, respectfully upholding the emperor's legacy. Receiving the abundant blessings, ascending to expand the universe. Extending the imperial rule over the earth, exhausting the heavens as the master. Guests from the lunar realm, presenting offerings from the earth beneath the sun. Opening the era with the first correct rites, exchanging rituals with music. The six ceremonies are connected, the nine officials are arranged in order." (The following lines are all written by Yan Yanzhi.) Livestock entered and exited, performing the "Music of Leading the Sacrificial Animals":
"Respectfully we hail, offering tribute to the divine spirits. Proclaim the teachings and national sacrifices, solemn and clear. Cleansing the sacrificial animals, ensuring purity of the vessels. Presenting offerings to the heart of the king, responding to the blessings of the gods." (The above four lines were written by Yan Yanzhi.) "Ascending to the capital, descending virtues to the people. Swift spirits anticipating the night, high torches waiting for the morning."
Presenting sacrificial offerings, performing the "Music of Praise":
"We respectfully offer, only in the spring of Meng. With filial piety and respect, establish our people. The green altar shrouded in mist, the emerald curtain hangs solemnly. Offering the precious vessels, ascending again. Establishing the offerings, displayed in the jade courtyard. Initiating the sacrifice, successfully facing the divine." (This poem has added and subtracted from Xie Chaozong's rhetoric.)
The above are the lyrics of the evening sacrifice, all repeatedly performed.
Welcoming the spirits, performing the "Music of Shaoxia":
The emperor sacrifices to the heavens, earth, and ancestors, in a grand and solemn ceremony. First is the sacrifice to heaven and earth, expressing reverence to the heavens, "Only the saint feasts the emperor, only filial feasts the parents." Then is the sacrifice to the ancestral temple, conducting ancestral rituals, respectfully reaching the outer realms. Throughout the entire sacrificial process, the scene is magnificent, "Golden branches in the trees, broad music in the four corners." In the ceremony, there are various ceremonial teams, a magnificent scene, "The moon guiding the chariot, stars aiding the wheels. Distantly rising the distant chariot, bright and vigorous." Finally, the emperor receives the blessings of heaven, "Announcing great rewards, receiving the decree of the primordial spirit."
The emperor enters the east gate of the altar, and the band plays the "Music of Eternal Arrival." The solemn sacrificial scene, "Purple altar facing the spirits, emerald curtain waiting for the gods." Guests from all corners of the earth gather together, "Leading the heavens in offerings, welcoming guests from all corners of the earth." Praying for heavenly blessings and national prosperity, "Divine blessings and support, uniting with the spirits. Respectfully illuminating the offerings, solemn and filial sacrifices." The entire heaven and earth are immersed in a peaceful atmosphere, "Majestic four spirits, illuminating three lights, the emperor's virtues complete, the grand ceremony unfolds harmoniously."
The emperor ascended the altar and began to chant the sacrificial hymn: "Reporting to Heaven, offering to the revered spirits. The omens are favorable, and the divine dwelling is honored. The five offerings are distinct, and the six rites are properly arranged. As the altar is approached, the imperial pavilion is solemnly elevated." Following that, the orchestra played the "Music of Virtue and Valor," "Establishing peace, aligning with the will of Heaven. Thoughts are settled, divinations are made." Next was the "Music of Martial Virtue and Valor," praising the emperor's merits and the era of peace and prosperity, "Achievements light up the cosmos, and virtues shine brightly in the heavens. Winds move across the nine regions, rites adorn the eight domains. The four spirits are bright in the morning, the five constellations are clear at night. Embracing the mandate of heaven, prosperity flourishes, and the reputation is esteemed." Emperor Taizu was also honored in the ceremony, and the orchestra played the "Music of High Virtue and Valor." This piece was composed in the second year of the Yongming era, and the lyrics were written by the Grand Secretary Wang Jian. Offering sacrifices to the ancestors of heaven and earth is a significant national event, symbolizing the stability of imperial power and the prosperity of the country, "When feasting with the emperor, the light of heaven shines brightly. The dance reflects ancient times, the honor mirror has no boundaries. The sun and moon proclaim glory, the clouds flow and obscure. The five Han and six Yu are all peaceful." The emperor drank the wine of blessings, and the orchestra played the "Music of Auspicious Offerings," "Offering libations with joy, receiving blessings. The flourishing virtue symbolizes the celestial signs, the prosperity responds to the emperor's plans. The sacred radiance shines on the foundation of prosperity, blending blessings with the history of the world. The sound is correct, reflecting the orbit of the moon, the writing and literature soar with the traces of the sun. The auspicious treasures illuminate the divine presence, the spiritual gifts flow with auspicious fluids. Our emperor venerates the brilliance of the throne, honoring the past with glory." Finally, amidst the music of "Bright Summer," the spirits were sent off. This sacrificial ceremony was indeed magnificent! The ritual was conducted in an orderly manner, with complete ceremonial music. The spirits seemed to be appeased, and the procession slowly retreated. Behold, auspicious clouds swirl gently, caressing the palace steps, purple clouds diffuse, and the sky seems especially expansive. The emperor surveyed the imperial city, his gaze resting on the jade platform, filled with joy and tranquility. This magnificent sacrificial ceremony was a resounding success.
Next, the emperor arrived at the sacrificial site and performed the solemn "Zhao Yuan Music." In the music, as if he could hear the blessings from above, the emperor responded to the heavens with grand ceremonies. The sacrificial animals and wine vessels were neatly arranged, the firewood and offerings were burning vigorously, and the sacrificial rites were conducted with great care, expressing respect to the fullest. The blue smoke rose straight into the sky, and the atmosphere at the purple altar was grave and reverent, expressing reverence and piety to the gods. The emphasis of this sacrifice lies not in the abundance of the offerings, but in the sincerity of the sacrifice.
After the sacrifice, the emperor returned to the palace and performed the "Music of Restful Completion" again. This time, the ceremony in the southern suburbs was conducted with solemnity, the offerings were plentiful, and the emperor returned in a carriage, with the sun shining and the atmosphere peaceful. Musical instruments played, bells rang, and dance performances were grand. The ceremony was orderly and precise, and it ultimately concluded successfully, with the procession being neat and uniform as the carriage moved slowly.
For the sacrifice at the northern suburbs, it followed the music from "Zhou Song: The Divine Mandate of Hao Tian," which has been performed in sacrifices to heaven and earth since the Zhou and Han dynasties! Yan Yanzhi's "Offering to the Earth God" from the Song Dynasty shares similarities with the sacrificial texts from the southern suburbs. During the sacrifice at the northern suburbs, the courtiers performed the "Solemn Harmony Music," played the "Leading Sacrifice" when the animals entered, played the "Praising Recommendation" when offering sacrifices, played the "Eternal Arrival" when the emperor entered the east gate of the altar, played the "Praising Feast" when drinking the blessing wine, and played the "Restful Completion" when returning to the palace. These musical pieces closely resemble those from the southern suburbs' sacrifice, except for the "Zhao Xia Music" performed during the welcoming and sending off of the deities, which differs slightly.
Upon welcoming the Earth God, the "Music of Zhaoxia" was played. This sacrificial ritual was well-prepared, and the worship of the Earth God was grand and sincere. On the altar, red curtains and purple steps created an atmosphere that was solemn and dignified. The offerings were neatly arranged, and the musical instruments played, the atmosphere was solemn and sacred. The Earth God seemed to feel the sincere worship; the atmosphere was solemn and peaceful. The sacrifice prayed for a good harvest and national peace.
The emperor ascended the altar, personally reciting the sacrificial text, expressing respect and prayers to the Earth God. Musical instruments played, the offerings wafted fragrant aromas, and the entire sacrificial process was solemn and dignified. Praying for blessings from heaven, national peace, and good weather. Within the nine domains, the people live in peace and prosperity; the farmers till the fields, and the harvest is plentiful. The emperor made the initial offering, playing the "Music of Didekai Rong."
I first prepared the sacrificial site, thinking of the country's prosperity, respectfully arranging the sacrificial vessels, looking up to the heavens, praying for blessings. Then, I carefully reported the details of the sacrificial rites to the deities. (The following eight sentences are omitted) The offerings for the sacrifice were arranged, and the music played. (The following twenty-two sentences, all written by Yan Yanzhi, are omitted.) Next, the "Music of Zhaodekai Rong" was played: this magnificent scene, so ancient and enduring, auspicious qi hidden between heaven and earth. The brilliance of the sun and moon shines on the earth, the empress is virtuous and admirable, and her merits are outstanding.
Then the deity was sent off, playing the "Music of Zhaoxia": the spirit of the sacrifice ascended to heaven, and the procedure of the sacrifice was orderly. The jade sacrificial vessels were neatly arranged, and the golden musical instruments stopped playing. The ceremonial banners fluttered, and the chariots slowly turned. The sunlight shone, and the auspicious qi filled the air. The spirits blessed and watched over the realm. The four seas are peaceful; the world is peaceful.
Next are the burial offerings, to the tune of "Liyou Music": the late emperor's grace was felt across the realm, and the sacrificial activities were solemn and dignified. Inheriting the great achievements of the late emperor, seeking the gods' blessings. The offerings were neatly arranged, and the sacrificial activities were held in a grand manner. The sacrificial animals and offerings were arranged on the altar, invoking the blessings of the gods. The world is peaceful, and the mountains and rivers are forever stable.
The above is the sacrificial text of the northern suburbs.
The sacrificial text of the Mingtang for the Five Emperors states that the sacrificial poems from the Han Dynasty were composed entirely in four-character verses, and Emperor Xiaowu of the Song Dynasty asked Xie Zhuang to write the sacrificial text. Xie Zhuang wrote using three lines for wood, seven for fire, five for earth, nine for metal, and six for water. Referring to the "Hongfan" chapter, the order of the five elements is: water, fire, wood, metal, earth; the numbers of the five elements in the "Yueling" are: wood eight, fire seven, earth five, metal nine, water six. Cai Yong said, "The east has three wood and five earth, so it is eight; the south has two fire and five earth, so it is seven; the west has four metal and five earth, so it is nine; the north has one water and five earth, so it is six." There are also the numbers of verses, one line gets earth, three lines get fire, five lines get water, seven lines get metal, nine lines get wood. If according to the order of "Hongfan," three lines for wood, then water should be one line, fire two lines, and metal four lines. If according to "Yueling," with metal nine and water six, then wood should be eight lines, fire seven lines. It should be written according to the numbers one and two in "Hongfan," but this approach does not yield a coherent text, so there are some compromises; both approaches are contradictory, leaving the basis for using these numbers in the sacrificial text unclear. The sacrificial text of King Wen in the "Zhou Song" is all in four characters, with only one line in five characters and one line in seven characters. The sacrificial text of Song Taizu written by Xie Zhuang also does not have a fixed number of lines.
In the first year of Jianyuan, the emperor ordered the Huangmen Lang Xie Chaozong to draft the congratulatory message for the sacrificial ceremony of the Mingtang, and adopted his solemn congratulatory message. In the second year of Jianwu, the rain sacrifice was held again in the Mingtang, with Xie Mao drafting the congratulatory message, completely following Xie Zhuang's style, with the Emperor Shizu requesting that it be written in four-character verses.
The guests come and go, singing the lyrics of "Suxian Music," a total of two chapters:
Inheriting filial piety, serving the revered sage with respect. Blessings from heaven, celebrating together. The presiding officials are in order, in solemn procession. Fragrant branches sway, grand altars set up. Precious treasures displayed on high platforms, fine wine filling the courtyard. Guests gather together, radiating brilliance. Rituals carefully selected in advance, everything in perfect order. Reverently facing the blessings of the gods, the royal celebration fulfills the divine prophecy.
Respect and dignity, shining in order. Swiftly and reverently worshiping the deities, pure and plentiful sacrificial offerings. The palace stands solemn and majestic, the grand altar imposing. The emperor's spirit descends, all the officials fulfill their duties. With sincere devotion as night falls, solemnly receiving the morning. The dawn faintly breaks, everything appears light in the morning light.
Next is the song praising the Five Emperors:
"Qing Emperor Song":
As the setting sun reflects, the morning shines bright. The spirit rides the thunder's roar, presiding over the green spring. Geese flying south, paulownia blooming. Gentle winds dance, as warm light lingers. Sprouting and reaching out, all things thrive. Endless moisture, boundless blessings.
"The Song of the Red Emperor":
The dragon spirit first seen in the fire, the red light shines in the north, creating a harmonious scene. The emperor oversees reality and balance; as rain falls, trees and flowers thrive. All things flourish and thrive, grace and blessings cover the four seas and nine lands.
"The Song of the Yellow Emperor":
The house of stepping on the earth, the ruler of all directions. Transformation brings warmth and coolness, governance spreads through warmth and coolness. (The following eight lines are omitted.) Arriving at the division of time, opening and closing at constant intervals. The emperor's brilliance encompasses all; the imperial spirit clears the way for the nation.
"The Song of the White Emperor":
The hundred rivers are like mirrors, the heavens and earth are bright and clear. Clouds rise, the spirit ascends; great virtue resides in simplicity. (The following four lines are omitted.) People gather the harvest; the year's work is about to be completed. The land is nourished; the universe reflects the emperor's spirit.
"The Song of the Black Emperor":
The year is coming to an end, the sun is speeding away. The spirit journeys through the abyss; virtue governs the rules. Mysterious clouds gather, the dark bird treads. White clouds spread, spanning the sky. (The following four lines are omitted.) Morning passes swiftly, while evening lingers. The great yin reaches its zenith, while the subtle yang emerges. (The following two lines are omitted.)
(These songs praise the five great emperors of the blue, red, yellow, white, and black emperors, celebrating their divine power and blessings. The content of the songs mostly describes the characteristics of the five emperors and their influence on the world, but some parts of the original text have been omitted.)
The emperor returned to the eastern wall, toasting with birthday wine, playing the "Jiazai Music"; the lyrics are as follows: (This song is also used in the imperial ancestral temple)
Complete rituals, flourishing blessings. The wise emperor is favored by heaven; the emperor's reign gathers auspiciousness. Occupying the highest position, riding on the prosperous trend, residing in the auspicious imperial capital, a king of noble virtue. Light shines in all directions; essence spreads to all eight directions. The sea also rejoices; the universe shines with radiance. Divine blessings safeguard the realm; the great achievements will be eternally celebrated.
Next, the offering to the gods is performed, playing the "Zhaoxia Music"; the lyrics are written by Xie Zhuang.
The ceremony is solemn, the music is melodious. The deities are about to depart, and the sky is getting dark. The palace gates stand wide open, and the roads are solemn. The phoenix dances, the dragon soars. The clouds drift, the river flows. Brightness spans for thousands of miles, fragrance drifts in all directions. The chariot of the deities returns to the celestial realm. The Xuanji Palace is quiet, the Jade Palace is empty. Great virtues are embodied, and filial piety prevails. Remembering the intentions of the deities, expressing longing for the emperor. The great blessings continue endlessly, and the beautiful offerings are praiseworthy. The emperor's virtuous conduct will forever shine brightly. (Four additional lines added at the end) When the livestock enter and exit, the music played is "The Offering Music," and the lyrics are: Only sincerity can be offered in sacrifice, only filial piety can be used to honor the deities. Offer the millet respectfully, and wash the sacrificial animals respectfully. The sacrificial animals are tied with red silk threads, and the sacrificial offerings fill the altar. Inheriting the ancestral sacrifices, expressing the emperor's sincere heart. The fragrance drifts, the fire flickers. The deities observe everything, and the beautiful sacrifices are comforting. When offering beans, hair, and blood, the music played is "Music of Praise Offering," and the lyrics have two chapters: The sacrifice begins, and the rituals have been completed. The ritual norms of the six ceremonies are followed, and the duties of the nine ministers are orderly. The tender livestock are arranged, and the strong livestock are displayed. Respectfully wash to show respect for the deities. Offer sacrifices multiple times, and all kinds of sacrifices have been made. The music swells, echoing far and wide. The curtains are solemn, the palace gates are strict. Pure sincerity shines like a mirror in the night, and the dignified attire is like the morning sunlight. The divine spirit descends, bestowing blessings upon our emperor. Bless the world, bless all nations. Eternally celebrating the sacrificial spirit of filial piety, which embraces all. The attendants stand in line, the atmosphere is both solemn and reverent. - The above are the lyrics for the evening sacrifice.
When welcoming the spirits, the music played is "Zhaoxia Music," with the lyrics:
The heavens and earth are calm, the universe rotates. The canopy of stars moves, and the Purple Star opens. Harnessing the six types of qi and riding the auspicious winds. The emperor's radiance shines on the capital. The sacred ancestor descends, and vibrant auspicious clouds gather. (The following eight lines are omitted) Abundant offerings, pure livestock. Officials are respectful, and officials are devout. The emperor's grace is vast, and filial piety is flourishing. Reaching the depths of the underworld, and comprehending the three realms. The spirits are peaceful, the jade carriage stops. Prosperous blessings arrive, the world rejoices. (All the above are poems by Xie Zhuang)
The emperor ascends to the Ming Hall. The song "Deng Ge Ci" is played:
Yongtai observes the northern wind, Zegong selects an auspicious day. Using fire to illuminate the night, using water to sacrifice the morning. Six sacrificial vessels decorate the palace, eight kinds of feathers decorate the courtyard. Announcing to the sages, remembering the heavens. Respectful sacrifices in midsummer, singing praises to virtues. Forever strengthening the foundation, to pacify all nations. (All the above are poems by Xie Zhuang)
The initial offering, the song "Kai Rong Xuan Lie Music" is played: (same as the Tai Temple)
The wine and sacrificial vessels are already set up, abundant offerings are all displayed. The sacrifice is sincere, with complete rituals and music. After the prayers, the sacrifice ends. The chariot drives out of the gate, the imperial bells echo in the palace. The spirit rituals linger in the surroundings, the radiance shines in the high sky. The spirits from all directions guard, the three gods open the way. The emerald canopy shines brightly, the drapes shroud the dawn. The jade sacrificial vessels stop playing, the golden carriage carries the music. Cast aside selfishness and sincerely express respect, with a solemn and moving heart. Admiring the wisdom of the late emperor, considering continuing the ancestors' legacy. The spirits bestow blessings, the seasons turn brightly. Relying on the emperor's grace, overseeing the common people.
—The above are the songs of the Ming Hall sacrifice, played during the Jianyuan and Yongming periods.
Yu Sacrificial Ode:
The weather is clear and pleasant, the rites and music are revitalized. Observing the position of the dragon star, selecting an auspicious day and time. Yang energy rises, Yin energy descends. Sacrificing to the land, offering the five grains. Instruments vibrate as a warning, the path of righteousness flourishes. Looking up at the heavens, praying to the divine. Playing grand music, performing the "Cloud Dance." Gathering the spirits of the five directions, welcoming the ancestral gods. Yu sacrifices are praised, sacrifices are in order. The fragrance of wine fills the air, the jade tablets resonate. The spirits descend, the gates of heaven swing wide open. Chariots and horses are magnificent, the music echoes. The dragon banner stands still, surveying the sacrifices all around. Freezing rain dances, auspicious winds blow. The altar is prepared for offerings, the offerings can be enjoyed. Blessing the people, embodying the benevolence of the emperor.
Our ancestors were truly wise and martial, creating a prosperous era! The emperor came from the east with the power of divination, shining brightly, ruling the world. Seven virtues are widely promoted, nine achievements have been completed. He quelled the rebellions in Jingzhou and Shuzhou, displaying his majesty at Lize. Diligent in political affairs in the morning, worried about national affairs at night, diligent and dedicated. The world is unified, cultures are connected, the people are well-fed and well-clothed, their virtues are as fragrant as the offerings. Stars shine, the night is beautiful, heralding auspicious signs. The roads are wide, the houses are orderly, the river flows clear as glass. The sacrificial items are abundant, the music is melodious. We praise him, revering him as the Heavenly Emperor. From the palace to the altar, there is no shortage of offerings. We solemnly sacrifice, praying for a bountiful harvest year after year.
Next is a ballad praising the Martial Emperor: "Building wings by day, birds singing at night. Ice solidifies in ponds, the dark awakens. The sun shines brightly, the wind blows gently. The women sing, the Eastern Emperor gathers. Serving the spring wine, holding the green jade. Honoring the ancestors, nurturing the people." This poem praises the achievements of the Martial Emperor, filled with auspicious signs.
Then there is a song praising the Green Emperor, representing wood, with a numerical value of three in the five elements: "Only this summer virtue spreads across the land, the two dragons have tamed the fiery spirits. The fiery landscape lies to the south, the grass is yellow and the clouds are tinged with gold, and the peach fruits are ripe. The clan's clouds are thick and lush, the warm wind stirs, rain flourishes, and millet seedlings thrive everywhere." This song praises the vitality brought by the Green Emperor, with everything growing and a thriving scene.
Next is a song praising the Red Emperor, representing fire, with a numerical value of seven in the five elements: "Embodying the brilliance of fire, nurturing gold's strength and overcoming rigidity. Cool and hot blend to create, the community upholds abundant virtues. The sun season brings forth life, the heat melts away the humidity. The merchants stop their work at dusk, the year reaches its zenith, casting long shadows. The imperial waters flow clear and pure, the original marshes are flat. All say the blessings are countless, and the people uphold the high capital." This song praises the warmth and harvest brought by the Red Emperor, as well as the peace and prosperity under his rule.
Following that is a song praising the Yellow Emperor, representing earth, with a numerical value of five in the five elements: "The emperor delights in harmony, holding the reins of governance firmly. All rivers gather their waters, and the essence of the landscape responds to the merchants. The fine trees spread their branches, and the elm gate welcomes the guest birds. The night moon is like frost, and the autumn wind is gentle. The merchants' shadows are solemn and sharp, and all treasures are abundant. With hard work, we look forward to the year, hoping for a bountiful harvest." This song praises the governance of the Yellow Emperor, with the people living in peace and happiness, and the autumn harvest in sight.
Finally, there is a song praising the White Emperor, representing metal, with a numerical value of nine in the five elements: "The emperor delights in harmony, holding the reins of governance firmly. All rivers gather their waters, and the essence of the landscape responds to the merchants. The fine trees spread their branches, and the elm gate welcomes the guest birds. The night moon is like frost, and the autumn wind is gentle. The merchants' shadows are solemn and sharp, and all treasures are abundant. With hard work, we look forward to the year, hoping for a bountiful harvest." This song praises the solemn atmosphere ushered in by the White Emperor, and also foreshadows a bountiful autumn harvest.
The day is short, the night is long, the sun moves, and the moon follows. The sound of the frosty bell rings out, and the tombs underground seem to stir. The stars rotate in the sky, and the moon reaches its end. Listen, the piercing wind keeps howling. Look, the dark clouds are completely colorless. Once the snow melted, thick snow has now accumulated. Snowflakes drift down from the Tianshan Mountains. The passes are closed, patrols have stopped. The whole country is holding sacrifices and entertaining guests. The feeble sunlight will eventually fade. All kinds of sacrificial rituals have been completed, and the vision of lasting peace has come.
- This is a song for sacrificing to the Black Emperor, using the hexatonic scale.
Hey, the devotion to the gods feels as if they are right before you, and the sacrificial rituals must be thorough. The chariot of the gods will not stay long. Gripping the dragon's reins, turning the golden canopy, soaring into the sky. Signaling the seven celestial bodies, proclaiming to the gods of all directions. Passing through the palace gate, crossing the Tianjin Bridge. The rain continues to pour until late at night. May the people feast, with food piled high like mountains. The emperor's mood is relaxed, and the scene of prosperity flourishes.
- These are the lyrics of the song for sending off the gods.
The lyrics of the music performed at the Taimei Temple include "Zhou Song - Qing Temple," as well as the Han Dynasty's "An Shi Song" in seventeen chapters.
In the third year of Yongping, when King Dongping Cang made sacrifices at the Guangwu Temple, he composed a twenty-six-verse song praising Emperor Guangwu's achievements.
In the eighteenth year of Jian'an, the Wei Kingdom had just been established. Minister Wang Can composed a poem called "An Shi Shi," expressing the intention of the gods to appreciate sacrifices. During the reign of Emperor Ming, Minister Miao Xi submitted a memorial saying, "The original title 'An Shi Shi' comes from the Han Dynasty. However, the content of this poem differs from that of the earlier 'An Shi Ge.' The annotations of the 'Zhou Li' (the Rites of Zhou) state that 'An Shi Yue' was the court music of the Zhou Dynasty. Some people used to say that court music was to praise the virtues of the empresses, so it is suggested to change 'An Shi Yue' to 'Zheng Shi Zhi Yue.' But later, I read the Han Dynasty's 'An Shi Ge' and found that it also mentioned the participation of the gods in banquets without mentioning the merits of the empresses at all. I think the previous understanding that court music was to praise the empresses' virtues might be wrong. Now, sacrifices are for the entertainment of the gods, the poems praise the ancestors' virtues, and the singing is to celebrate banquets. There is no need to praise the merits of the empresses." Therefore, 'An Shi Yue' was renamed 'Xiang Shen Ge.' Court Attendant Wang Su also composed twelve poems for ancestor worship, but these poems were not included in the music.
During the Taishi period of the Jin Dynasty, Fu Xuan composed two songs, "Miao Xi Sheng Zhao Xia" and "Ying Song Shen Si Xia," as well as seven poems for the seven temples. Fu Xuan said, "These songs are intended to celebrate great virtues and achievements, so the lyrics vary for each temple. As for the songs for sacrificing the gods, like 'You Gu' and 'Yong' in the 'Zhou Song,' they only describe the grandeur of the rituals and music during sacrifices to the gods, and these songs are performed during the sacrifices in the seven temples." Xiahou Zhan also composed thirteen songs for ancestral temples.
During the Song Dynasty, Wang Shaozhi composed seven poems for the seven temples. During the Shengming period, the Taizu ascended to the throne as the King of Qi and ordered the Minister of Works Chu Yuan to compose two chapters of temple songs. In the early years of the Jianyuan period, the Emperor decreed that the Yellow Gate Attendant Xie Chaozong compose sixteen chapters of temple music poems.
In the second year of Yongming, the Minister of the Imperial Household Department reported: "The ancestral temple of Emperor Gaozu is featuring the dance of 'High Virtue and Proclamation of Valor', but there are no lyrics yet, and the sacrificial ritual requires lyrics. The ancestral temple of Empress Mu also lacks lyrics. According to what Fu Xuan said: 'The lyrics for each temple are different, but the lyrics for the seven designated temples are identical.' This suggestion is feasible. We have reviewed the songs and poems of the Han Dynasty, which vary in length and are created based on the events. Most of them consist of eight lines, followed by a change in rhyme. Sometimes the rhyme changes after two or three lines, which is rare. Zhang Hua and Xiahou Zhan also followed the previous pattern. Fu Xuan changes the rhyme quite frequently, which detracts from the concise and elegant style. In recent times, Wang Shaozhi and Yan Yanzhi only change the rhyme after four lines, achieving a balanced structure. The songs created by Yan Yanzhi and Xie Zhuang for the three temples consist of three chapters, each with eight lines, which is more suitable for the detailed and concise description of achievements, and should be emulated now. During the sacrificial ritual, the emperor's title should be downgraded to 'Lord', as the etiquette is different from that of the ancestral temple, and Empress Mu's maternal ritual and the education of the realm are also different from the country's governance. These two songs, each with eight lines per chapter, will be performed as commanded." The emperor decreed, "It is acceptable." The Minister of the Imperial Household, Wang Jian, composed the prose for the two chambers of the ancestral temple and the sacrificial ceremony.
When the courtiers enter and exit, they sing the lyrics of "Su Xian Music":
Pure and sincere, filial piety resonates through the mist and frost. With solemn rites, they show respect and continuity. Adorning the golden tree, the solemn and wise ascend in brilliance. Playing the music solemnly, with strict dignity on the steps. Not just any tribute, this is a tribute to the will. Honoring the divine intentions, supporting the transmission of prosperity.
When the sacrificial animals enter and exit, they sing the lyrics of "Leading Sacrificial Music":
The sacrifice begins, solemn and dignified, following the national etiquette with reverence. Acting according to the regulations, displaying filial and fraternal rites. The sacrificial offerings are clean and neatly arranged. Sincerely contemplating, choosing an auspicious day and time. The sacrifice ceremony is held at night, awaiting the dawn's light. On the grand sacrificial altar, offering sacrifices to the spirits.
Offering sacrifices, playing the "Praising Music":
Pure thoughts fill the air, the dwelling place of the gods is quiet and peaceful. Expressing gratitude with reverence, solemn as if the gods are right beside us. Fragrant offerings are arranged meticulously, with all beautiful items present. Fragrant smoke drifts, shining like starlight. The wise gods descend, aligning with our noble way. The heavens shine brightly with the five stars, while the earth guides the eight directions.
- This is the song of the evening sacrifice.
Welcoming the gods, playing the "Bright Summer Music":
Select an auspicious moment to conduct the sacrificial ceremony with respect. The palace gates are tightly closed, layers of windows waft with incense. Fill the jade chalice, receive the golden branches. Heavenly voices sing praises for the sacrifice, clouds dance, musical instruments play. The gods descend, radiance spreads everywhere. The glory of the emperor remains eternal, beautiful scenes unfold.
The emperor enters the north gate of the temple, playing the "Eternal Bliss Music":
Follow the ancestral rituals, according to the etiquette of the Zhou Dynasty. Nine departments work together, all directions submit to the court. The chariots are quietly arranged, the orchestra begins to play. The emperor gazes at the jade bead curtain, waiting in silence. The majestic procession, solemn rituals. The emperor's steps are dignified, displaying the demeanor of a monarch.
The Grand Preceptor offers wine to the earth, playing the "Ascending Song":
The fresh aroma of wine fills the air, the great virtue of filial piety flourishes. Auspicious signs in the sky, the emperor reflects solemnly in his heart. Offered the beans, pure offerings arranged neatly. The fragrance rises, the jade emits a clear sound. Lush offerings in a quiet and solemn environment, respectfully offered to the gods. Express gratitude through sacrifice, with sincerity alone.
At the ancestral shrine of the Marquis of Guangling, the "Triumphant Music" is played.
The country thrives and prospers, the emperor's majesty is exalted. Auspicious omens spread far and wide, generations flourish and prosper. The illustrious achievements of emperors past, the glorious style of the royal family. A brilliant beginning, a wise culmination.
In the ancestral shrine of the Grand Master of the Imperial Ancestral Temple, the "Triumphant Harmony" is performed:
Prosperity and flourishing like the stars, brilliant and radiant like fine jade. The great achievements of the emperor show wisdom and valor. Always with a heart of reverence, respectfully learning from their teachings. A peaceful and prosperous era, radiating glory.
In the shrine of the Marquis of Huaiyin Commandery, the "Triumphant Harmony" is performed, and the lyrics are as follows:
The ceremony is solemn and formal, the sacrifice begins grandly. The nine chapters of music have been played, the offerings to the Sanqing are arranged. We respectfully offer sacrifices to our ancestors, praying for their blessings. During the era of Zhenyou, you were with us, as if you were a dear neighbor.
Next, in the shrine of the Marquis of Jiqiu Commandery, the "Triumphant Harmony" is also performed, and the lyrics are as follows:
Conducting the ceremony with reverence, offering with pure herbs. The music echoes around the shrine. The ancestors' virtues shine like the brilliance of a dragon. Just like the Zhou Dynasty in the Book of Songs, and the Shang Dynasty in the Odes, praising the virtues of the ancestors.
In the shrine of the Marquis of Taichangqing, the "Triumphant Harmony" is performed, and the lyrics are:
The sacred palace is magnificent, the bright sleeping quarters are solid. Your virtues are light as feathers, your words and deeds are as rich as fine wine. Inheriting the foundation of the previous emperor, shining upon our royal family. On this grand day, the country thrives even more.
In the shrine of the Emperor Xiaohuang, the "Xuande Triumphant Harmony" is performed, and the lyrics are as follows:
Your sense of righteousness is profoundly rooted, in harmony with the mandate of heaven, and your virtuous deeds have ushered in the nation's prosperity. Great ancestors, your accomplishments are truly magnificent! You follow the rules of your ancestors, shining brightly; you inherit the principles of your ancestors, spreading fragrance. Your virtues exceed those of the Yellow Emperor, and your accomplishments surpass those of the Yan Emperor.
On the divine seat of Queen Zhao, the music titled "Triumphant Melody" fills the air, with the lyrics:
The moonlight symbolizes celebration, auspicious clouds foreshadow good omens. Your noble and gentle character shines brightly, your merits gleaming like badges. You guide us within the palace, your presence is as grand as the cosmos. Your demeanor is dignified and elegant, shining like golden feathers.
The emperor returned to the east wall, drank the wine of blessings, and played the music of "Eternal Prosperity," with the lyrics as follows:
The palace rises majestically into the clouds, music plays in unison, literary talent soars. The people rejoice and celebrate, various sacrificial ceremonies are held grandly. The vermilion strings of the harp produce pleasant music, emerald feathers flutter in the clouds. The wine vessels have been cleaned, the offerings have been set up, the aroma wafts through the air. We offer sincere sacrifices, expressing respect with solemn rituals. May your blessings extend to future generations, auspicious energy spreading in all directions.
When sending off the gods, the music of "Summer Celebration" is played, with the lyrics as follows:
The sacrificial ceremony is completed, joyful and pleasant music plays. The sacrificial rites are conducted with precision, and the enjoyment of the spirits has ended. People respectfully offer sacrifices, and the teachings of reverence spread widely. The radiance of the spirits shines across the land, the spirits' chariot ascends into the heavens. Your blessings reach across the nine heavens and ten realms, your radiance shines in all directions. Your blessings are boundless, your reign is everlasting.
The emperor arrived at the side hall, playing the music of "Restful Completion," with the following lyrics: (Here should be continued with the lyrics)
The emperor is very filial; the sacrificial ceremony is grand and meticulously organized. Everyone participates seriously, and the atmosphere is solemn and dignified, with the procession lined up neatly. By day, the procession is majestic, and at night, the palace lights shine brilliantly as the carriage parades. The emperor's procession flows gracefully like clouds, with emerald green canopies shining in the sunlight. The emperor inherits the will of the previous emperor; the nation is more prosperous and flourishing, its destiny enduring, and the development prospects are bright.
Next comes the sacrificial hymn for the ancestral temple, in two chapters:
First, Your Majesty, you have established the country and built the ancestral temple to honor the spirits of the ancestors. Sacrificial ceremonies are held monthly and on schedule, following ancient rituals and honoring the merits of the ancestors. We honor the achievements of our ancestors and cherish their kindness, choosing auspicious days and times to hold grand sacrificial ceremonies. Golden wine vessels are filled with osmanthus wine, and the aroma fills the sacrificial tent. Civil and military officials stand in solemn formation, and the sacrificial ceremony takes place amidst auspicious clouds.
Second, this sacrificial ceremony is truly grand, reflecting the emperor's filial piety and emphasis on etiquette. The offerings are very clean, the aroma is overwhelming, and everything comes together harmoniously. The blessings of our ancestors continue to benefit later generations, and our admiration for the ancestors continues. The music is vibrant, and the dances are graceful, with the sacrificial ceremony continuing late into the night. The emperor offers sacrifices to the ancestors with deep reverence, and as the ceremony progresses, the atmosphere grows increasingly solemn. Our gratitude towards the ancestors is profoundly noble, and the wisdom of our ancestors shines ever more brightly.
Next is the song "Gao De Xuan Lie Music," performed in the ancestral shrine by Emperor Taizu Gaozu:
From the beginning of the savage era, Emperor Taizu strategized and accomplished great feats. He excelled in civil administration and military achievements, rightfully hailed as a wise ruler. He pacified the chaos, allowing the people to live in peace and prosperity. He was destined to rule over a vast territory by the mandate of Heaven. He held the power of the state, ushered in a golden age, with his virtues permeating heaven and earth, and his rituals regulating social order. His benevolence benefited all the people, and his authority commanded respect from everyone. Various ethnic groups rejoiced and came to pay their respects, bringing gifts. He abolished outdated customs, implemented new policies, and the nation thrived, with auspicious signs appearing frequently. His virtues shone like stars, and his reputation was as sweet as fragrant herbs. The ancestral tablets of past generations were enshrined in the seven temples, and the music performed in the six palaces celebrated them. We should honor our ancestors and hold grand sacrificial ceremonies.
Next is the lyrics of the song "Mu De Kai Rong Zhi Yue" performed by Empress Mu's divine chamber:
Empress Mu assisted the Zhou dynasty like Daisi, and accompanied Emperor Yu like Tushan. Our Empress inherited their virtues and set a good example. She lived a simple life in the palace, as elegant as the "Cloud Dance." By offering sacrifices to the Empress, we express our deep reverence for her, and her virtues will be remembered for eternity.
Next is the lyrics of the song "Ming De Kai Rong Zhi Yue" performed by Emperor Gaozong Ming's divine chamber: (This content is missing and cannot be translated.)
Inheriting this ancestral legacy is no easy feat, established after enduring many hardships. It was in times of adversity that wise and virtuous rulers emerged. The emperor inherited the martial achievements of his ancestors and arrived during a time of peace and prosperity, with everyone working diligently. Liu Xianxiang stepped up to unite everyone in their efforts, and praises echoed all around. Although the ancestors being honored were from the Xia Dynasty, his contributions were likewise acknowledged by the heavens. People near and far remember him with respect. The sacrificial ceremony was conducted with solemnity and grandeur, with the emperor standing majestically, truly a moment of great honor! Prince Yun and the queen, in turn, received many blessings. Through elaborate ceremonies and beautiful music, they moved the spirits of heaven and earth. Eight vessels filled with sacrificial offerings were placed indoors, while six dance troupes performed in the courtyard. The virtues of the ancestors were celebrated in the temple, reflecting their grace in both appearance and demeanor. People from all corners came to pay their respects, and all nations enjoyed peace and stability.
The lyrics for the sacrificial ceremony honoring the God of Agriculture date back to the first year of Emperor Han Zhang’s Yuanhe reign, when the Marquis of Xuanwu, Ban Gu, proposed using "Zhou Song: Zai Shan" for the worship of the God of Agriculture. During the Jin Dynasty, Fu Xuan also wrote an eight-line poem "Sacrificing to the God of Agriculture and Silkworms at Night." There was also a poem "Welcoming and Sending Off the Gods," along with three poems dedicated to the God of Land and Grain, the God of Agriculture, the God of Virtue, and the God of Silkworms, with the first poem having twelve lines, the second sixteen lines, and the third twelve lines, all depicting various agricultural practices. Hu Dao'an also wrote an eight-line poem "Feasting the God of Agriculture." There were also several old songs passed down in the Yuefu. During the Jietian ceremony in the fourth year of the Yongming era, the emperor commissioned General Jiang Yan to compose the "Jietian Song." Jiang Yan wrote two chapters, without imitating Hu Dao'an and Fu Xuan, and the emperor instructed the Taiyue Bureau to incorporate this song into the music score.
The feathered canopy sways, the golden carriage moves gracefully. Instructing on righteous galloping, taking joy in the adornment of rites. Leading the plow in the fields, personally following the ancient agricultural rites. May the divine protect and the wise ruler reign, bringing gentle blessings year after year.
Song for the Offering to the Gods:
The exquisite jade wine vessels are displayed, the embroidered vessels are arranged. Praying for abundant harvests that benefit the people forever.
During the grand New Year feast, there will be a magnificent music performance in the palace. In the fifth year of the Jin Dynasty’s Taishi reign, Grand Minister Fu Xuan composed four ceremonial poems for the New Year's grand assembly, and a chapter of birthday wine poetry. Other court musicians, such as the Yellow Gate Attendant Zhang Hua, composed thirteen musical pieces for the East and West Chamber ensembles during banquets. For birthday celebrations and meals, Xun Xu, the Director of the Palace Library, and Cheng Gong Sui, the Attendant, each wrote several poems, although the number of poems varied. In the Song Dynasty, Yellow Gate Attendant Wang Shaozhi composed the "Summer Music" chapter, which included a chapter of ceremonial songs, a chapter of birthday songs, three chapters of climbing songs, ten chapters of banquet music, as well as one chapter each of prelude and postlude dance music. During the Qi Dynasty, although there were some minor changes to these music and dances, most of the old music terms were still used, with only two chapters of prelude and postlude dances being newly created. When the emperor is in the hall, the four chapters of "Yu Shuo" from "Summer Music" will be performed.
The lyrics of "Summer Music" are as follows:
Yu Shuo, our emperor, exemplifies kindness and virtue. Together with the bright sun and moon, compared to the vast universe. Like the pottery and jade of a hundred rulers, reflecting the grandeur of the imperial hall. Consultations to set destiny, proclaiming the prosperity of the four clans.
- This song is performed once guests have entered the four chambers.
After the grand ceremony, the courtiers were respectfully attentive. They were dressed in their finest attire, waiting for dawn. They enjoyed a feast of exquisite delicacies and relished the melodies of "Nine Shao." They looked up to the heavens and revered the emperor's countenance.
This song was performed by the court musicians in the main hall while the emperor changed his clothes. The musicians from the Yellow Bell and the Great Hall played two songs simultaneously during the emperor's clothing change.
The laws were established, and the banquet was grand and extended. The officials were all in attendance, showing their utmost respect to the emperor. The drinks flowed without end, and the decorum was plentiful. The emperor's demeanor was warm and respectful, just as it was from the beginning.
The nine achievements were celebrated, and the six dynasties were honored. Virtue resonated through music, and the teachings were spread through poetry. Harmony and peace abounded, and all things flourished. The celebrations reached from afar, and the achievements were pronounced here.
The two songs were performed by the musicians from the Yellow Bell and the Great Hall after the emperor changed his clothes.
The ceremonial lyrics for the grand assembly were:
Great is the Emperor of Qi, his prosperity enduring, his reign flourishing from Ji Xia to Yu Tang. His virtues shine with unmatched brilliance, and he is matched with the heavens, residing in all four directions.
Oh, our Emperor, his sacred virtues are heavenly, bestowed upon him by the heavens. His dragon flies to the purple pole, establishing our capital of Qi. His light shines throughout the universe, bright and glorious.
These two songs were performed by the musicians from the Guxi Hall.
The birthday song lyrics were:
Presenting a toast to celebrate the emperor's longevity. His spirit and blessings are infinite, his radiance shines like the three suns.
This song was performed by the musicians from the Yellow Bell Hall.
The lyrics for the song to be performed before the hall:
(Here should be the lyrics for the song to be performed before the hall)
It is said that the fortunes of the Qi nation are thriving, the emperor governs with benevolence, and the world is at peace. It is truly a blessing from the heavens, the prosperity of the nation! Behold this grand spectacle, as nations come to pay tribute, with music and rituals flourishing, truly magnificent! Just as flowing waters converge into the sea, all nations come to pay homage to the emperor, with solemn dignity and grand ceremonies. The emperor leads by example, ensuring peace throughout the realm.
Our emperor, truly wise and valiant, has created a prosperous era, ushering in good fortune. His virtue shines as brightly as the sun, and the country thrives because of it. This prosperous scene will continue forever! Play music! Use golden and stone instruments, the Taixue command to kneel and play!
Next is the song at the banquet:
The morning ceremony is grand and magnificent, with all things bathed in auspiciousness. This is already the third prosperous era, and the system of rites and music is exceptionally refined. At the beginning of the new year, the regulations are clear and just. Delegates from all corners gather to offer their congratulations, and guests from all sides fill the court. Civil and military officials are distinguished by both virtue and talent, respectfully listening to the emperor's instructions. Everyone stands respectfully, the sun shines on the earth, the bells and drums ring together, shaking the heavens and the earth, and the palace is resplendent with ceremony. We pray for the prosperity of the country and the longevity of blessings.
The five jades have been presented in tribute, and the three silks have been respectfully offered. All the princes play music in the magnificent hall. The wise empress gracefully took her place in the south. The emperor accepted the beautiful congratulations, and all nations expressed the same wishes. Indeed, we are in a time of peace and prosperity, with joy between the ruler and the subjects! The five banners wave proudly, and representatives from the four counties have all come. The music is beautiful, the etiquette is complete, and the royal style is displayed to the fullest.
The harmony of the ceremonies resonated with heaven and earth, and the emperor's benevolence brought auspiciousness. Various auspicious omens emerged, responding to the lucky bell. The phoenix dances, the dragon soars. The lucky star appears, and sweet dew falls. Trees grow together, crops flourish. Profound changes, benevolent blessings are bestowed upon the land. Various auspicious omens confirm the emperor's wisdom.
The emperor cherishes the remote areas, comforts the people, thanks the heavens for their blessings, and all corners of the realm have submitted. The world is peaceful, the country is prosperous, the emperor is virtuous and enlightened, ushering in prosperity. This era of prosperity will endure for all time, the people live and work in peace, all support the emperor. The gathering of the three spirits heralds auspicious signs, which can only appear during the reign of the current emperor.
The emperor practices royal virtues, and his blessings extend across the realm. He follows the will of heaven, learning from the teachings of the previous emperor. His virtues are as regular as the changing seasons, and his sincerity moves the heavens. His blessings spread throughout the world, and rituals standardize all nations.
The emperor's wise governance fosters peace and prosperity throughout the realm. The court is full of etiquette, and even the remote areas have submitted. Officials and subjects don crowns, abandoning their former attire. The heavens bless the earth, and blessings are widespread. Education flourishes in every corner, and the emperor's virtues shine brightly.
In the Kaiyuan era, vassals arrive to pay their respects. They bring tribute and meet the emperor, adorned with jade pendants as they partake in the rituals and observe the established systems. Everyone celebrates together, praising the emperor's virtues. Cultivating an atmosphere of prosperity, the world enjoys peace. May the emperor be prosperous and flourishing forever.
In the first year of Jianyuan, the emperor's virtues are exemplary. He reforms the seven policies and enforces the five principles. Ethical order is well established, and education is widely spread.
The emperor's grace is vast, and the era of peace and prosperity begins. The emperor conducts sacrificial rites to the spirits, performing the ceremonies with utmost respect. Inheriting the foundation of ancestors, he bestows and receives abundant blessings. Etiquette is thorough, and music is harmonious. Instruments of gold and stone play, and banners flutter. The music transcends that of "Wu Hou," with a rhythm as balanced as that of "Xian Chi." Singing "South Wind," the emperor's virtues will be eternally celebrated. Civilization radiates brilliance, and praises resound endlessly.
The emperor's reign is virtuous, and his virtues are even better. The borders are secure, and the realm is at peace. Promoting courtesy and transforming customs leads to lasting harmony. Celebrating the beauty of a prosperous era and heralding the dawn of success. Singing the achievements of the ancestors will be eternally passed down.
- The above is the performance of the Huangzhong performing the "Morning Ceremony" section, the Taicu instrument playing the "Five Jades" section, and the remaining eight sections are played alternately by the two side bands.
Lyrics of "Front Dance" and "Step Song": (New Lyrics)
The heavens gave birth to a wise monarch, and the four directions are stable. The mountains and rivers are calm, the sun and moon shine brightly. All things flourish and grow, the people are healthy. The principles of governance operate subtly, benevolence reaches far away. Profound virtues, with merits surpassing the heavens. The dance is both grand and solemn, praising the emperor's virtues with song. The eight sounds are harmonious, with dragons flying and phoenixes dancing. The royal foundation is eternal, yin and yang harmonize.
Poem of "Front Dance Triumph": (Old Lyrics)
The glorious mission, observed by the heavens. The sunlight shines on the earth, with solemn etiquette. The singing is resplendent due to virtues, the dance is profound because of achievements. The palace is impeccably arranged, showcasing a variety of musical instruments. The music is lively and vibrant, the sheng and qin harmonize. Although "Xiao Shao" is an ancient music piece, the melodies of the nine performances continue to resonate today. Guiding people towards goodness, spreading harmonious music widely. Strengthening the legacy of our royal family in harmony with the heavens. Etiquette permeates the world, and education flourishes naturally. Like the vast Milky Way, it shines in the heavens. People everywhere are thriving, reminiscent of the peaceful prosperity of yesteryears. Performing the "Shao" music, ensuring everlasting flourishing and prosperity.
Lyrics of "Back Dance" and "Step Song": (New Lyrics)
... (This part is omitted because the original text does not provide the lyrics of the "Back Dance" and "Step Song")
Ah, our Empress Dowager is truly amazing! She inherited the legacy of her ancestors, governing the country with brilliance and prosperity, as if she had polished the universe, bringing clarity and brightness. She follows the doctrine of moderation, governing the people of the world. Her virtues resonate widely, influencing countless generations. In order to promote her virtues, this dance was specially created. The Empress Dowager's graceful and elegant steps exude nobility and elegance, the music is refreshing and fragrant, and the auspicious energy from all directions converges, heralding good omens. Her blessings spread throughout the world; her merits are in harmony with the heavens and the earth.
The lyrics of this song "Empress Dance" and "Triumphant Appearance" mean this: This Empress Dowager is the wise ruler bestowed by heaven; she has accumulated countless virtues, the country is strong, and all directions are stable. She soars like a dragon in the sky, her majesty extends to all nations. She is intelligent and wise, like a deity, handling state affairs with calmness, deep in thought. She influences all without needing to say much, bringing peace to the world. She reports her achievements to heaven, etching her accomplishments. Her political achievements are brilliant; her benevolence knows no bounds. She crafts policies according to the realities, stabilizing the hearts of the country and the people. The foreign tribes have all submitted, and there is peace within the nine countries. She wears the crown, handles state affairs, and loves the people. Therefore, she performs the "Triumphant Appearance" dance, as if she is one with heaven and earth. Her blessings are profound, and the country will prosper forever.
Speaking of the "Xuanlie Dance," the dancers hold halberds in their hands, with great momentum! When performing rituals in suburban temples, the attire is quite elaborate: flat crown, adorned with a black headband, wearing dark-colored garments, white sleeves, with a crimson inner garment, crimson pants, and crimson socks. When at court, the attire is even more elaborate, adorned with a martial crown, a red headband, a vivid crimson robe, a single garment, silk sleeves, a black inner garment, tiger-patterned pants, white cloth socks, and black shoelaces. The "Great Martial Dance" of the Zhou Dynasty was changed to "Five Elements" in the Qin Dynasty. Emperor Gaozu of Han, Liu Bang, created the "Wude Dance," with dancers also holding halberds, symbolizing peace and stability and celebrating his pacification of the chaotic times. As noted in the "Book of Rites," "With vermilion and weapons, wearing a crown, dance the 'Great Martial,'" so the Han Dynasty continued to use this dance and established it. Emperor Wen of Wei changed "Five Elements" back to "Great Martial" and renamed "Wude Dance" to "Martial Song Dance." Emperor Ming also adapted the "Wu Shi Dance." The Jin Dynasty continued to use it. In the dance songs written by Fu Xuan of the Six Dynasties, there are also lyrics about the "Martial Dance," indicating that the evolution of this "Martial Dance" is complex and cannot be easily summarized. During the Xiaojian period of the Song Dynasty, the court discussed designating "Kai Rong Dance" as "Shao Dance" and "Xuanlie Dance" as "Martial Dance." According to the meaning of "Shao Dance," "Xuanlie Dance" is the ancient "Great Martial Dance" rather than the "Wude Dance." Nowadays, people call it the dance of King Wu defeating King Zhou. As for the costumes of the dancers, the attire for the "Wu Shi Dance," as established by the Shangshu in the Wei Dynasty, has been consistently used in subsequent generations.
Next is the "Kai Rong Dance." The dancers hold feathered flutes. During the rituals at suburban temples, they wear the Wei Mao crown, with clothing similar to the "Xuan Lie Dance" mentioned earlier. When they reach the court, they change to the Jin Xian crown, wear a black silk sash, a bright yellow robe, single-layered clothing, white pants, and the rest of the attire remains unchanged. Originally, this dance was known as the "Shao Dance" from the era of Emperor Shun, renamed "Wen Shi" by Emperor Gaozu of the Han Dynasty, and changed back to "Da Shao" by the Wei Dynasty. The Wei Dynasty also created the "Xian Xi Dance" as a ceremonial dance. Fu Xuan of the Jin Dynasty wrote about the "Yu Shao Dance" during the six dynasties period of dance and song. The Song Dynasty classified the "Kai Rong Dance" as a ceremonial dance that followed the "Shao Dance," utilizing the costumes from the Wei Dynasty's "Xian Xi Dance."
Lastly, we have the "Front Dance" and "Back Dance," which were composed during the ninth year of the Taishi era in the Jin Dynasty. There are also the "Zheng De Dance" and the "Da Yu Dance," for which Fu Xuan and Zhang Hua each wrote lyrics. During the Song Yuan Jia period, the "Zheng De Dance" was renamed the "Front Dance," and the "Da Yu Dance" was renamed the "Back Dance." The above is a brief overview of the court's sacrificial music and dance.
This passage discusses the lyrics of ancient palace dances. These lyrics are quite elaborate, mostly praising the virtues of emperors. For example, in the songs written by Fu Xuan, the lyrics say, "Guilty of heaven, exiled to the northern frontier, whose tomb is swept, surpassing the flowing light." This suggests that having offended the heavens leads to exile in the northern frontier, where no one tends to the tomb, and time flows away like water. There are several short songs like this, all called dances, which may not appear to be songs meant for lively banquets, but this is how the term "dance music" originated.
Next are the lyrics of several dances. First is "Ode to the Wise Emperor": "The wise emperor founded great achievements, his virtue flourished in the Jianyuan era. Commanded by the emperor ruling over the four seas, the holy emperor responded to the divine will. The Five Emperors succeeded the Three Sovereigns, to whom the world belonged. The holy virtue follows the course of fate; heaven and earth cannot go against it. Looking up, it is infinitely high, like the heavens unreachable. Will once again tie the rope, quietly arching to unify the world." This song is an adaptation of Emperor Zhang of Han's "Pi Dance Song," which also mentions "wise women in Guandong." Later, Emperor Ming of Wei adapted this song into "Emperor of Wei, Mingming." Fu Xuan adapted this song again during the Wei and Jin period, writing "Hongye Chapter," "Xuanwen founded great achievements, his virtue preserved the beginning of peace. The holy emperor responded to the divine symbol, commanded by the emperor ruling over the four seas." You see, the lyrics of the first four lines have been changed back and forth. From "Five Emperors" to "unreachable heavens," these six lines were written by Fu Xuan. The last two lines were originally "Will once again control the Long family, the Phoenix Emperor resides in the courtyard," but were also changed later.
Next is "Song of the Holy Ruler": "The holy ruler receives the mandate of heaven, and the eras of Yu and Tang are anticipated. Ascending the throne, overseeing all affairs, governing all directions. The cycles of fullness and emptiness follow nature's order, yielding and giving way to the holy light. To the north, civilization reaches the He and Yellow Rivers; to the south, authority extends to the Yangtze and Yellow Seas. Broad virtue unifies the seven policies, spreading teachings to the three stars. The countless realms will surely receive blessings; all happiness will come to fruition. The holy emperor responds to the beginning of blessings; prosperity and virtue are divinely bestowed." This song praises the holy ruler who received the mandate from heaven, governed the world, and brought blessings to all, bringing about peace throughout the land.
There is also the song "Wise Emperor": "The wise emperor rules over the four seas, his discernment reaches all people's spirits. Looking up, his grace is already harmonious; exhausting his loyal body will bring honor. The holy blessing penetrates the three spirits, virtue and teachings cover the eight regions. Plants and trees change their leaves; rivers and mountains reveal auspicious signs. Joy and happiness flourish during the bright times; dancing ascends to the great era. A slight frost brings eternal prosperity; the heart's journey is filled with enduring joy." This song also praises the virtues of the wise emperor, saying that he governs the world, allowing the people to live in peace and harmony, creating a scene of tranquility.
Finally, there is the text of the "Bell Dance" song. In conclusion, the lyrics of these dance songs are rich in praise for emperors, reflecting the social atmosphere of the time.
This text describes the music and lyrics of several ancient dances; let's go through it sentence by sentence. First, "Yellow 'Yunmen,' Tang 'Xianchi,' Yu 'Shaowu,' Xia 'Xia,' Yin 'Huo,' there are five." This sentence refers to the historically famous dances: 'Yunmen Dance' from the Yellow Emperor's era, 'Xianchi Dance' from Emperor Yao's time, 'Shaowu Dance' from Emperor Shun's period, the 'Xia Dance' from the Xia Dynasty, and the 'Huo Dance' from the Yin Dynasty. Next, "Zhengduo rings the bell, extending 'Dawu.'" This means ringing the bell, playing the bronze bell, and then performing the 'Dawu' music. "Singing clearly, with the form taking precedence. The sound harmonizes with the eight tones, adhering to the rules of music. Body movements should be purposeful, and hands should not be raised aimlessly. Moving in sync with the rhythm and following the sequence. Sometimes playing the palace and horn tunes, mixing them with the zhi and yu tones." This section describes the performance style of the dance; singing should be clear and bright, dance movements are the main focus, music should be harmonious and follow the rules of music, dance movements should be precise, not arbitrary, according to the rhythm of the music, sometimes playing palace and horn tunes, sometimes adding zhi and yu tones. "Music can change the wind, complementing etiquette; how could it possibly exceed its bounds?" This paragraph summarizes the standards and role of ancient dance music. The text later mentions a piece of music composed by Fu Xuan to replace the music of the Wei Taihe era. "Under 'Zhiyu,' apart from 'disgusted by the public eye, following the bell and drum' two sentences." This sentence clarifies the origins of this piece of music and notes some omissions. Then there are the lyrics of 'Bai Jiu': "Graceful white doves, flying and singing again. Honoring my lord's virtue, I come to his court." This poem describes the graceful flight of white doves, expressing praise and longing for the monarch. The following explanation elaborates on the origins and symbolism of this dance, created by the people of Wu, expressing discontent with Sun Hao's tyranny and yearning for a more just political system.
Next is "The 'Ji Ji Ci'": "Flying and dancing freely, the air is filled with fragrance. Reflecting on the past and the grandeur of the yellow." This poem describes the flourishing scene of dancing and recalls the wise ancient monarchs.
Next is "The 'Du Lu Ci'": "Alone in abundance, alone in abundance, deep water and muddy mud. Mud is tolerable, but deep water kills me!" This poem uses "Du Lu" as a metaphor for corruption and expresses satire towards corrupt officials. The following explanation elaborates on the meaning of this poem and its connection to other works, possibly also a satirical poem.
Finally, a passage from "The 'Jieshi Ci'": "Standing at Jieshi to gaze at the vast sea. The water is faint, the mountains and islands stand tall. Trees and grass are lush. The autumn wind is desolate, the waves surge. The movements of the sun and moon seem to emerge from within, the stars shine brightly, as if they come from within. How fortunate indeed! Singing to express one's aspirations." This is a famous poem by Cao Cao, depicting the magnificent scene of observing the sea from Jieshi Mountain, expressing the poet's heroic feelings.
The last sentence mentions "Huainan Wang Ci," but the content is not elaborated.
The Huainan King boasts of his noble status, constructing a towering building a hundred feet high that reaches into the clouds. I wish to cross the river, but there’s no bridge. I long to transform into a yellow crane and fly back to my hometown. This is a song and dance from the Huainan King of the Jin Dynasty, consisting of six sections; these are the lyrics of the first and fifth sections.
Next, we have "The 'Qi Shichang Ci'":
During the prosperous reign of the Qi State, the land was peaceful, creating a scene of great tranquility. People lived long lives and should remain together for many years, wishing for eternal longevity, where everyone becomes a long-lived elder. This is an excerpt from the Jin Dynasty's "Song of the Cups and Plates," consisting of ten sections. The third section reads: "Dancing with cups and plates, so light and graceful, the entire gathering celebrates, wishing longevity to be as vast as the heavens." Gan Bao said: "During the Taikang period, there was this kind of dance. The overturning of cups and plates symbolizes a dangerous situation. This reflects how the scholars of the Jin Dynasty were solely focused on seeking pleasure, short-sighted, and lacking foresight." The first section of this song starts with "Jin Shi Ning," but later, it was changed by the Song Dynasty people to "Song Shi Chang," because they disliked the imagery of cups and plates overturning, so they changed the lyrics. The Qi State was changed to "Qi Shi Chang," while the other lyrics remained the same as the following section.
Next is "Do Not Leave, Sir":
I cannot see Sir Mo, why am I so entangled with Sir Mo? What binds me is the baby's nursemaid. I miss you since you left; why am I so sad? The child is also feeling sad, missing you since you left, missing you. I asked my mother at the time, "What should we do? Where should we go?" This is from the Jin Dynasty's "Do Not Leave, Sir Dance Song," consisting of twenty chapters, featuring no fixed sentence structure. These are the lyrics of the first and nineteenth to twentieth sections, interspersed with three lines that are hard to decipher. During the Jianwu period, when Emperor Ming played this piece of music, he said it was like the "Yongming Music," and couldn't help but shed tears as he reminisced about the founding emperor.
Let's look at "White Silk Words":
The sun is shining brightly, the spring breeze is warm, and the flowers are fragrant. I dance lightly in the moonlight, dressed in a pure white gown, dancing gracefully. My emotions are as steadfast as rock; the music flows melodiously, the soft silk robe twirls slowly, and the red sleeves flutter gently. The clear singing echoes through the rafters, sometimes soaring like a startled swan, sometimes contemplating, sometimes flying lightly. I turn my eyes, radiating a lively brilliance, my figure dancing gracefully like a pair of wild geese. Happiness arrives too late; this joyful moment seems to stretch on forever. May a wise ruler govern the land, forever celebrating peace and prosperity. - This song is one of the five "White Silk Songs" created by the Minister of Works Wang Jian. Zhou Chu's "Records of Local Customs" records: "During the Yellow Dragon era of the Wu Kingdom, there was a nursery rhyme that said: 'The one dressed in white, the king chases you like he would a Juyi horse.' Later, Sun Quan marched against Gongsun Yuan, crossing the sea by boat; the boat was white, which is why this song's harmony still includes 'walking in white silk.'"
The last is from the "Haige Ci": (This content is missing and cannot be translated) There was a dwarf who neither spoke nor uttered a sound, but merely twisted and turned, creating a ruckus. He jumped around endlessly like a wolf. During the performance, he actually pulled out the bull's horns, scraping the bull's skin and ears. The horse's hooves hung in the air, the bull had lost all its teeth, the camel was hornless, and it simply shook its ears. - This is the song performed by the dwarf himself, selected from the ancient Eight Haige Songs; this is the first one. This song consists of a total of twenty-two lines, and what the dwarf is singing now is selected from these twenty-two lines.
Performances like acrobatics, animal imitations, and juggling have existed throughout history. It is difficult to say exactly how they have developed and changed, but in general, Zhang Heng's "Xi Jing Fu" from the Han Dynasty is regarded as the earliest record. During the Wei Dynasty, Chen Siwang's "Yan Le Pian" also recorded such performances, as did Fu Xuan's "Yuan Zheng Pian" and "Chao Hui Fu" during the Jin Dynasty. During the Xiankang period of the Southern Dynasty, some performances abolished included: the Purple Deer Dance, Walking on Hands, Turtle Feeding, Rat on Bamboo, King Qi Rolling Up His Sleeves, Falling Down, and the Five Cases. The exact reasons for this remain unclear. During the Taiyuan period of the Jin Dynasty, after Fu Jian's defeat, performances of Hu people's acrobatics were brought from the Guanzhong region and presented to the court. Some of these performances might still exist, while others may have been lost to time, as seen in these records.
In the sixth year of Yongming, the clouds and mist cleared on Chicheng Mountain, revealing a stone bridge and a waterfall, a sight unlike any seen before! The Taoist Zhu Sengbiao living on the mountain reported this to the court, and the emperor sent the chief scribe Dong Zhongmin to investigate, believing it signified good fortune. Taiyue Ling Zheng Yitai later crafted a performance that mimicked the scenery of Mount Tiantai, showing the moss-covered stone bridge and the Taoist caressing Cui Ping Mountain. However, this performance was eventually canceled.
With the founding of the Qi dynasty, auspicious signs descended from the sky. The spiritual phoenix carried an imperial decree to the Purple Star. With peace reigning across the land, the heavens blessed them. It surpassed the Shang and Xia dynasties, shining brightly. A timeless era of peace and prosperity, renowned far and wide.
- This is the "Phoenix Carrying the Edict and the Courtesan's Song" performance, similar to the Fish-Dragon Dance performance. On New Year's Day, the attendant knelt before the palace to receive the imperial edict. The Song Dynasty lyrics are as follows: "The Great Song thrives, fulfilling the divine prophecy. The phoenix recalls the prosperous era, carrying the white edict. Beautiful melodies reveal profound mysteries. Innovating and surpassing past dynasties. Majestic and virtuous." In the early years of the Qi Dynasty, the emperor instructed Jiang Yan, the Palace Attendant, to revise the lyrics.
The "Song of Eternal Peace" was collaboratively composed by Prince Liang of Jingling and several literati, comprising a total of ten songs. The lyrics written by Daoist Shi Baoyue were especially beautiful, and the emperor frequently had it performed by the orchestra, but it was not part of the official repertoire.
It is praised for integrating various performances from the Six Dynasties, embodying the eight virtues of a prosperous era. Grand banquets and sacrifices, celebrating virtues and achievements through dance and song.
