Page:Sacred Books of the East - Volume 3.djvu/311

 The Hsiâo Yâ, or Lesser Yâ, in eight Books, contains seventy-four pieces and the titles of six others, sung at gatherings of the feudal princes, and their appearances at the royal court. They were produced in the royal territory, and are descriptive of the manners and ways of the government in successive reigns. It is difficult to find an English word that shall fitly represent the Chinese Yâ as here used. In his Latin translation of the Shih, P. Lacharme translated Hsiâo Yâ by 'Quod rectum est, sed inferiore ordine,' adding in a note:—'Siâo Yâ, latine Parvum Rectum, quia in hac Parte mores describuntur, recti illi quidem, qui tamen nonnihil a recto deflectunt.' But the manners described are not less correct or incorrect, as the case may be, than those of the states in the former Part or of the kingdom in the next. I prefer to call this Part 'Minor Odes of the Kingdom,' without attempting to translate the term Yâ.

The Tâ Yâ or Greater Yâ, in three Books, contains thirty-one pieces, sung on great occasions at the royal court and in the presence of the king. P. Lacharme called it 'Magnum Rectum (Quod rectum est superiore ordine).' But there is the same objection here to the use of the word 'correct' as in the case of the pieces of the previous Part. I use the name 'Major Odes of the Kingdom.' The greater length and dignity of most of the pieces justify the distinction of the two Parts into  and.

The Sung, also in three Books, contains forty pieces, thirty-one of which belong to the sacrificial services at the royal court of Kâu; four, to those of the marquises of Lû; and five to the corresponding sacrifices of the kings of Shang. P. Lacharme denominated them correctly 'Parentales Cantus.' In the Preface to the Shih, to which I have made reference above, it is said, 'The Sung are pieces in admiration of the embodied manifestation of complete virtue, announcing to the spiritual Intelligences their achievement thereof.' Kû Hsî's account of the Sung was—'Songs for the Music of the Ancestral Temple;' and that of Kiang Yung of the present dynasty—'Songs for the Music at Sacrifices.' I have united these two definitions, and call the Part—'Odes of the Temple and the Altar.' There is