【阅前提醒】本篇专栏的外语原文部分出自苏格兰经学家理雅各所著的《The Chinese Classics》。理雅各先生出生于1815年（清嘉庆二十年），一生致力于中西方文化的交流，其最重要的成果就是详尽译释了种花家传统经典。由于理雅各先生的本职是传教士，故其译作与众不同，采用的竟是“译经为次，释经为要”的翻译方针，这种紧抓释经权的翻译模式至今仍是独一份。不过由于理雅各的译作卷帙浩繁，因此目前人们常常删去释经只取译文。但我感觉此书的释经部分才是精华，直接丢弃实在是有些买椟还珠了。因此就计划用业余时间对理雅各的部分原文进行一些小整理。当然此书规模实在浩繁，以我的业余精力和水平，只能是整理多少算多少，整理成什么样算什么样！

1、诗经THE SHE KING

【理释】TITLE OF THE WHOLE WORK.-詩經，'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'

【山译】整部作品的标题——诗经，可直译为“关于诗歌的书”或直接翻译为“诗歌”。根据《毛诗大序》和中国学者的普遍观点，诗歌是指充满感情的思想表达的有韵律的文字。就目前来看，这是对于这类作品的最好的定义。这部诗集中共有311篇作品，但是其中有六篇只剩下标题。这些诗歌一般较短，而其中的确没有长诗。孙璋(Lacharme)神父将这部书翻译为“Liber Carminum”〖山注||  此为拉丁译名〗，而很多英语作家的对这本书的译名是“The Book of Odes”。我（理雅各）认为对于这些短抒情诗没有比“Ode”（颂歌）更适合的翻译了。而据说孔夫子就曾经为它们配上弦曲以歌之（孔子皆弦歌之）。

【山注】Lacharme神父将书名翻译为“Liber Carminum”，这个其实是拉丁语翻译，不过因为Liber可英语翻译为“书籍”因此我误以为是英语译名，然后……死活找不到Carminum的意思，而正好原文此处有几个字母不清晰，所以我以为是字母认错了，于是就开始了一段崩溃之旅。我先用模糊查词，查不到，还以为是我的方法错了，立刻读词典说明书，尝试许久仍然查不出。然后我一发狠就开始对着26个字母挨个试，但还是不行。直到顺手多翻了几页网页才无意中发现了一篇解析拉丁语版诗经译作的网贴，其标题正是“Liber Carminum”，这才意识到问题，一检查发现网络版搜狗翻译没有拉丁文选项，这才又搜了一个拉丁文线上查词网站，最终查到了，Carminum就是诗歌的意思。

【山注】'fitted them to the string'的第一个单词由于不好辨认，因此辽人版将其识别成“hued”，但词性不太对，因此我就对着影印版一通穷举识别，然后判断很大概率是“fitted”，故改之！此句话应该是史记孔子世家中“孔子皆弦歌之”的翻译。〖山录||《卷四十七·孔子世家第十七》——三百五篇孔子皆弦歌之，以求合韶武雅颂之音。礼乐自此可得而述，以备王道，成六艺。〗

2、毛诗大序THE GREAT PREFACE

        诗者，志之所之也，在心为志，发言为诗。情动于中而行于言，言之不足，故嗟叹之，嗟叹之不足故永歌之，永歌之不足，不知手之舞之，足之蹈之也。

        情发于声，声成文谓之音。治世之音安以乐，其政和；乱世之音怨以怒，其政乖；亡国之音哀以思，其民困。故正得失，动天地，感鬼神，莫近于诗。先王以是经夫妇，成孝敬，厚人伦，美教化，移风俗。

        故诗有六义焉：一曰风，二曰赋，三曰比，四曰兴，五曰雅，六曰颂。上以风化下，下以风刺上，主文而谲谏，言之者无罪，闻之者足以戒，故曰风。至于王道衰，礼义废，政教失，国异政，家殊俗，而变风变雅作矣。国史明乎得失之迹，伤人伦之废，哀刑政之苛，吟咏情性，以风其上，达于事变而怀其旧俗者也。故变风发乎情，止乎礼义。发乎情，民之性也；止乎礼义，先王之泽也。是以一国之事，系一人之本，谓之风；言天下之事，形四方之风，谓之雅。雅者，正也，言王政之所由废兴也。政有大小，故有小雅焉，有大雅焉。颂者，美盛德之形容，以其成功告于神明者也。是谓四始，诗之至也。

【山注】关于《毛诗大序》的篇幅，历代都是有争议的，主要是原序没有独立成篇，而是直接写在关雎篇中了。此处我采用的是理雅各选用的这一版，这一版中删去的原序语句，被归入《毛诗小序》中了。

3、理雅各英译《毛诗大序》

（01）诗者，志之所之也，在心为志，发言为诗。

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

（02）情动于中而行于言，言之不足，故嗟叹之，嗟叹之不足故永歌之，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）情发于声，声成文谓之音。治世之音安以乐，其政和；乱世之音怨以怒，其政乖；亡国之音哀以思，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，动天地，感鬼神，莫近于诗。

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）先王以是经夫妇，成孝敬，厚人伦，美教化，移风俗。

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）故诗有六义焉：一曰风，二曰赋，三曰比，四曰兴，五曰雅，六曰颂。

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）上以风化下，下以风刺上，主文而谲谏，言之者无罪，闻之者足以戒，故曰风。

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，礼义废，政教失，国异政，家殊俗，而变风变雅作矣。

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）国史明乎得失之迹，伤人伦之废，哀刑政之苛，吟咏情性，以风其上，达于事变而怀其旧俗者也。

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）故变风发乎情，止乎礼义。发乎情，民之性也；止乎礼义，先王之泽也。

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）是以一国之事，系一人之本，谓之风。

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，形四方之风，谓之雅。雅者，正也，言王政之所由废兴也。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）颂者，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）是谓四始，诗之至也。

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

4、理雅各释经《毛诗大序》

【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||  理雅各引用的这句是法译。〗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:-風雅頌詩之名也，但就三者之中有赋比興故總謂之六诗。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.

【山译】（毛诗大序）这一段已在《尚书·周书》（理雅各注释版）的第1章中提到过不止一次。如果我们没有《诗经》来帮助我们确定它（毛诗大序）的意义，我们将永远无法从（毛诗大序）文本本身理解它（毛诗大序）。我们可以得出结论，（中国）古代有六种诗体，称为风、赋、比、兴、雅、颂。它们在毕奥翻译的官方书籍中，被译作“教音乐家六种歌曲，这是所谓的风、赋、比、兴、雅、颂。”但是风、雅、颂是《诗经》的三个部分，意在表明组成它们的作品主题的不同；而赋、比、兴是这些作品的名称，意在表示其作品的形式或风格。风雅颂赋比兴之间是平等的，正如唐代贾公彦所说【風雅頌詩之名也，但就三者之中有赋比興故總謂之六诗】可以这样理解，风雅颂是诗经的经线，赋比兴是诗经的纬线。

【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.

【山译】我们已经充分了解了分部标题中风雅颂的意思，因此我们需要在这里更充分的讨论赋比兴的含义。

【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.

【山译】“赋”几乎不用解释。它就是直接对事情进行照实描述，诗人说出其想要说的话，并用简单直接的文字不加任何隐晦的写出来。表达出的意思不会超出原文字表达的范畴，我们可以直接从诗文中推断出作者和描写对象所处的情况和环境。朱熹认为国风第一卷周南的第2、3首《葛覃》《卷耳》都是“赋”的典型例子，我（理雅各）也认同朱熹的观点。毫无疑问，除了这两首诗外，其他诗中很容易就可以“赋”的例子。

【山录】《诗经集传·葛覃篇》（宋·朱熹）——赋也。葛，草名。蔓生可为絺绤者。覃，延。施，移也。……赋者，敷陈其事，而直言之者也。盖后妃旣成絺绤而赋其事，追叙初夏之时，葛叶方盛，而有黄鸟鸣于其上也。后凡言赋者，放此。

【山录】《诗经集传·卷耳篇》（宋·朱熹）——赋也。……卷耳，枲耳。叶如鼠耳。丛生如盘。……后妃以君子不在，而思念之。故赋此诗托言。

【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〖此处应该是伊索寓言，开头两个字母大写，不是我误写，而是影印版中就这样，并且影印版AE还是合体缩写；另外我也发现，此书单词中如果出现小写ae有时会直接缩写成æ〗;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。

【山译】“比”可解释为隐喻。翻译时和“赋”的翻译一样，需照实翻译。但在表面文字之下隐藏着作者想表达的不同的意思，甚至可能是表面文字中完全没有的表达。诗中的隐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，而诗中的“比”往往需要从历史人物和事件中寻找解释。例如国风第一卷周南的第5篇《螽斯》，如果我们通过表面文字只能看到蝗虫和其惊人的繁殖速度，但作者内心想表达的是周文王妻妾的多子。再比如国风第十五卷豳风第2篇《鸱鸮》，也是一个饱含隐喻的作品，从表面上看这首诗是描写一直鸟的哀鸣，它辛勤抚养的幼鸟被猫头鹰伤害，它此时担心自己的巣也会被破坏。但我们根据尚书知道这是周公自比此鸟，从而表达自己准备用铁腕镇压叛乱〖山注||《尚书·金縢》记载，武王临终托孤幼子成王于周公。但主少国疑，待成王继位后，管叔立刻与自己的兄弟在国内四处造谣，说周公将对成王不利，然后周公作《鸱鸮》以向成王表达心意。〗。正如朱熹所说：“比是以一物比一物，而所指之事，常在言外。”〖山注||  此言出自《朱子语类·卷八十·诗一》。〗

【山录】《诗经集传·螽斯篇》（宋·朱熹）——比也。螽斯，蝗属。长而青，长角长股，能以股，相切作声。一生九十九子。比者，以彼者比此物也。后妃不妬忌，而子孙众多。故众妾以螽斯之羣处和集，而子孙众多，比之。言其有是德，而宜有是福也。

【山录】《尚书·金縢》——武王既丧，管叔及其群弟乃流言于国，曰：“公将不利于孺子。”周公乃告二公曰：“我之弗辟，我无以告我先王。”周公居东二年，则罪人斯得。于后，公乃为诗以贻王，名之曰《鸱鸮》。王亦未敢诮公。

【山录】《朱子语类·卷八十·诗一》——比是以一物比一物，而所指之事常在言外。兴是借彼一物以引起此事，而其事常在下句。但比意虽切而却浅，兴意虽阔而味长。

【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.

【山译】“兴”是一种暗示，通常以几句开始，然后作为一种叠句在各节反复出现〖山注||  叠句和兴有相关性的这个说法我还没有找到依据，暂时阙疑〗。起兴的内容一般是动植物，然后引出作者想要表达的主题。正如国风第一周南的第三篇《樛木》，诗经中一般暗含他意的起兴内容与后面表达出的内容是相关的，就如英国诗人使用like和as来进行隐喻一般。一般兴在实际上是具有隐喻性的，但用来暗示的兴与用来隐喻的比之间还是具有一定的区别，兴后面的句子作者会直接陈述他要表达的主题，而比的隐喻内容则要与后面的内容有一些相似的特征。在我上一段引用的朱熹关于比的说法，后面还有一句关于兴的：“兴是借彼一物以引起此事，而其事常在下句。”但是我们常常在兴中找不到其想要隐喻的成分，因此只能作为叠句经行处理。有隐喻比的兴种，一般被称为“兴之兼比者”，否则被称为“兴之不兼比者”，偶尔在同一首诗中会同时出现比、兴之兼比、兴之不兼比三种情况。

【山录】《国风·周南·樛木》——南有樛木，葛藟累之。乐只君子，福履绥之。/  南有樛木，葛藟荒之。乐只君子，福履将之。/  南有樛木，葛藟萦之。乐只君子，福履成之。

【山录】严粲《诗辑》——凡言兴也者皆兼比， 兴之不兼比者特表之 。《诗纪》 曰：风之 义易见 ， 惟兴与比相近而难辨。兴多兼比 ， 比不兼兴 。 意有余者兴也 ， 直比之者比也。 兴之兼比者徒以为比则失其意味矣，兴之不兼比者误以为比则失之穿凿矣。毛氏特言兴也 ，为其理隐故也 。

【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.

【山译】我并不知道从什么时候开始第一部分风和第二三部分雅中的诗歌关于正确和改变的区分开始显著〖山注||  这里指的是毛诗大序中有当社会出现不正确的时候会“变风变雅”的说法〗。我们可以从毛诗序中找到的这些关于区分的内容，但是这个序的写作时间并不确定。因此这种区分是具有误导性的。风与雅中有很多被认为是变风变雅的诗篇，但它们无论在形式上还是在精神内涵上都本应和较好的那一级诗篇相当。

【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.

【山译】毛诗大序似乎将诗经中的诗篇的归于皇家和官方。但其他地方并没有这个说法。

【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.

【山译】毛诗大序关于颂的论述很不完善，无法解释鲁颂的异常，鲁颂位于周颂和商颂之间，此可参见第四部分颂的第二鲁颂。〖山注||  鲁颂比较怪异的是其从内容上说是风，从地位上说，鲁根本没有资格和周商并列，故此处理雅各认为毛诗序关于颂的定义和论述无法解释鲁颂的怪异〗