{"id":"shijing-001-0001","work":"shijing","chapter":"shijing-001","chapterTitle":"國風周南第一","chapterNumber":1,"ordinal":1,"text":"《關雎》、后妃之德也、《風》之始也，所以風天下而正夫婦也。故用之鄉人焉，用之邦國焉。《風》、風也、教也。風以動之，教以化之。詩者、志之所之也。在心為志，發言為詩。情動於中而形於言，言之不足故嗟歎之，嗟歎之不足故永歌之。永歌之不足，不知手之舞之足之蹈之也。情發於聲，聲成文謂之音。治世之音安以樂，其政和。亂世之音怨以怒，其政乖。亡國之音哀以思，其民困。故正得失，動天地，感鬼神，莫近於詩。先王以是經夫婦，成孝敬，厚人倫，美教化，移風俗。故《詩》有六義焉，一曰風，二曰賦，三曰比，四曰興，五曰雅，六曰頌。上以風化下，下以風刺上，主文而譎諫，言之者無罪，聞之者足以戒，故曰《風》。至于王道衰，禮義廢，政教失，國異政，家殊俗，而《變風》、《變雅》作矣。國史明乎得失之迹，傷人倫之廢，哀刑政之苛，吟詠情性以風其上，達於事變而懷其舊俗者也。故《變風》發乎情，止乎禮義。發乎情，民之性也。止乎禮義，先王之澤也。是以一國之事、繫一人之本謂之《風》，言天下之事、形四方之風謂之《雅》。雅者、正也，言王政之所由廢興也。政有小大，故有《小雅》焉，有《大雅》焉。《頌》者、美盛德之形容，以其成功告於神明者也。是謂四始，《詩》之至也。然則《關雎》、《麟趾》之化，王者之《風》，故繫之周公。南、言化自北而南也。《鵲巢》、《騶虞》之德，諸侯之風也，先王之所以教，故繫之召公。《周南》、《召南》，正始之道，王化之基。是以《關雎》樂得淑女以配君子，憂在進賢不淫其色；哀窈窕，思賢才，而無傷善之心焉。是《關雎》之義也。","sectionTitle":"關雎","sectionNumber":1,"layerMethod":"Conservative structural labels from visible title and chapter-count formulas; not a critical classification of every line.","lines":["《關雎》、","后妃之德也、","《風》之始也，","所以風天下而正夫婦也。","故用之鄉人焉，","用之邦國焉。","《風》、","風也、","教也。","風以動之，","教以化之。","詩者、","志之所之也。","在心為志，","發言為詩。","情動於中而形於言，","言之不足故嗟歎之，","嗟歎之不足故永歌之。","永歌之不足，","不知手之舞之足之蹈之也。","情發於聲，","聲成文謂之音。","治世之音安以樂，","其政和。","亂世之音怨以怒，","其政乖。","亡國之音哀以思，","其民困。","故正得失，","動天地，","感鬼神，","莫近於詩。","先王以是經夫婦，","成孝敬，","厚人倫，","美教化，","移風俗。","故《詩》有六義焉，","一曰風，","二曰賦，","三曰比，","四曰興，","五曰雅，","六曰頌。","上以風化下，","下以風刺上，","主文而譎諫，","言之者無罪，","聞之者足以戒，","故曰《風》。","至于王道衰，","禮義廢，","政教失，","國異政，","家殊俗，","而《變風》、","《變雅》作矣。","國史明乎得失之迹，","傷人倫之廢，","哀刑政之苛，","吟詠情性以風其上，","達於事變而懷其舊俗者也。","故《變風》發乎情，","止乎禮義。","發乎情，","民之性也。","止乎禮義，","先王之澤也。","是以一國之事、","繫一人之本謂之《風》，","言天下之事、","形四方之風謂之《雅》。","雅者、","正也，","言王政之所由廢興也。","政有小大，","故有《小雅》焉，","有《大雅》焉。","《頌》者、","美盛德之形容，","以其成功告於神明者也。","是謂四始，","《詩》之至也。","然則《關雎》、","《麟趾》之化，","王者之《風》，","故繫之周公。","南、言化自北而南也。","《鵲巢》、","《騶虞》之德，","諸侯之風也，","先王之所以教，","故繫之召公。","《周南》、","《召南》，","正始之道，","王化之基。","是以《關雎》樂得淑女以配君子，","憂在進賢不淫其色；","哀窈窕，","思賢才，","而無傷善之心焉。","是《關雎》之義也。"],"layer":"received-preface","source":{"repository":"https://github.com/kanripo/KR1c0001","commit":"9d36bf3a055b7aba01597f0c0581838ef56dc497","file":"KR1c0001_001.txt","lineStart":14,"lineEnd":116,"fileSha256":"b4661ada4d6a9e806c32fc8f314085b7b4ee7d4250f140d7fdf538ddbb97f806","edition":"tls","sourceLabels":[],"sourceUrl":"https://github.com/kanripo/KR1c0001/blob/9d36bf3a055b7aba01597f0c0581838ef56dc497/KR1c0001_001.txt#L14-L116","rawUrl":"/data/classical-0.12.0/sources/KR1c0001/KR1c0001_001.txt","author":"Anonymous poems transmitted in the Mao tradition, with received prefaces and ancillary prose; individual attribution is uncertain.","contributor":"Kanseki Repository (Kanripo) contributors; upstream base-edition labels retained in each original file.","license":"CC BY-SA 4.0","licenseUrl":"https://creativecommons.org/licenses/by-sa/4.0/"},"route":"/classical/passage/shijing-001-0001/","notes":[{"id":"r136","passage":"shijing-001-0001","quote":"詩者、志之所之也。在心為志，發言為詩。","focus":"所之","start":62,"end":81,"focusStart":67,"topics":["topic","suo","wei"],"translation":"Poetry is where intention goes: held in the heart it is intention; expressed in speech it is poetry.","note":"This belongs to the received Great Preface, not to the verse of Guan ju. In 所之, 之 is read verbally as going or proceeding, unlike the linking 之 before 所. The formula offers an interpretation of poetry within a later framing text; it is not the anonymous song's own explanation of its composition.","question":"Which textual layer contains this statement?","answer":"The received preface, not the poem's verse.","attribution":{"author":"zimai · AI-assisted editorial notes","status":"Editorial pilot · not independently reviewed","license":"CC BY-SA 4.0","licenseUrl":"https://creativecommons.org/licenses/by-sa/4.0/","revision":"0.12.0"}}],"previous":null,"next":"shijing-001-0002","nearby":[{"id":"shijing-001-0001","ordinal":1,"text":"《關雎》、后妃之德也、《風》之始也，所以風天下而正夫婦也。故用之鄉人焉，用之邦國焉。《風》、風也、教也。風以動之，教以化之。詩者、志之所之也。在心為志，發言為詩。情動於中而形於言，言之不足故嗟歎之，嗟歎之不足故永歌之。永歌之不足，不知手之舞之足之蹈之也。情發於聲，聲成文謂之音。治世之音安以樂，其政和。亂世之音怨以怒，其政乖。亡國之音哀以思，其民困。故正得失，動天地，感鬼神，莫近於詩。先王以是經夫婦，成孝敬，厚人倫，美教化，移風俗。故《詩》有六義焉，一曰風，二曰賦，三曰比，四曰興，五曰雅，六曰頌。上以風化下，下以風刺上，主文而譎諫，言之者無罪，聞之者足以戒，故曰《風》。至于王道衰，禮義廢，政教失，國異政，家殊俗，而《變風》、《變雅》作矣。國史明乎得失之迹，傷人倫之廢，哀刑政之苛，吟詠情性以風其上，達於事變而懷其舊俗者也。故《變風》發乎情，止乎禮義。發乎情，民之性也。止乎禮義，先王之澤也。是以一國之事、繫一人之本謂之《風》，言天下之事、形四方之風謂之《雅》。雅者、正也，言王政之所由廢興也。政有小大，故有《小雅》焉，有《大雅》焉。《頌》者、美盛德之形容，以其成功告於神明者也。是謂四始，《詩》之至也。然則《關雎》、《麟趾》之化，王者之《風》，故繫之周公。南、言化自北而南也。《鵲巢》、《騶虞》之德，諸侯之風也，先王之所以教，故繫之召公。《周南》、《召南》，正始之道，王化之基。是以《關雎》樂得淑女以配君子，憂在進賢不淫其色；哀窈窕，思賢才，而無傷善之心焉。是《關雎》之義也。","annotated":true},{"id":"shijing-001-0002","ordinal":2,"text":"關關雎鳩，在河之洲。窈窕淑女，君子好逑！","annotated":true},{"id":"shijing-001-0003","ordinal":3,"text":"參差荇菜，左右流之。窈窕淑女，寤寐求之。求之不得，寤寐思服。悠哉悠哉！輾轉反側。","annotated":false},{"id":"shijing-001-0004","ordinal":4,"text":"參差荇菜，左右采之。窈窕淑女，琴瑟友之。","annotated":false},{"id":"shijing-001-0005","ordinal":5,"text":"參差荇菜，左右芼之。窈窕淑女，鍾鼓樂之。","annotated":false},{"id":"shijing-001-0006","ordinal":6,"text":"《關雎》五章，章四句。故言三章，一章章四句，二章章八句。","annotated":false},{"id":"shijing-001-0007","ordinal":7,"text":"《葛覃》、后妃之本也。后妃在父母家，則志在於女功之事；躬儉節用，服澣濯之衣；尊敬師傅；則可以歸安父母，化天下以婦道也。","annotated":false},{"id":"shijing-001-0008","ordinal":8,"text":"葛之覃兮，施于中谷，維葉萋萋。黃鳥于飛，集于灌木，其鳴喈喈。","annotated":false},{"id":"shijing-001-0009","ordinal":9,"text":"葛之覃兮，施于中谷，維葉莫莫。是刈是濩，為絺為綌，服之無斁。","annotated":false}],"related":[{"id":"lunyu-001-0011","workTitle":"論語","text":"夫子至於是邦也","reason":"Separate the topic from the comment"},{"id":"lunyu-001-0013","workTitle":"論語","text":"禮之用，和為貴","reason":"Distinguish doing, being, and acting for"},{"id":"lunyu-002-0001","workTitle":"論語","text":"為政以德","reason":"Distinguish doing, being, and acting for"},{"id":"lunyu-002-0004","workTitle":"論語","text":"七十而從心所欲，不踰矩","reason":"Focus on what an action concerns"}],"knowledge":[],"connections":[{"id":"music-and-expression","title":"A theory of music beside the received preface","label":"Argument contrast","reason":"Xunzi connects music with human enjoyment; the received Great Preface describes feeling becoming sound. The comparison is between two explanatory prose layers. It must not be labeled as a direct statement made by every Shijing poem."}],"phraseConnections":[],"studyRecord":{"route":"/classical/passage/shijing-001-0001/","text":"《關雎》、后妃之德也、《風》之始也，所以風天下而正夫婦也。故用之鄉人焉，用之邦國焉。《風》、風也、教也。風以動之，教以化之。詩者、志之所之也。在心為志，發言為詩。情動於中而形於言，言之不足故嗟歎之，嗟歎之不足故永歌之。永歌之不足，不知手之舞之足之蹈之也。情發於聲，聲成文謂之音。治世之音安以樂，其政和。亂世之音怨以怒，其政乖。亡國之音哀以思，其民困。故正得失，動天地，感鬼神，莫近於詩。先王以是經夫婦，成孝敬，厚人倫，美教化，移風俗。故《詩》有六義焉，一曰風，二曰賦，三曰比，四曰興，五曰雅，六曰頌。上以風化下，下以風刺上，主文而譎諫，言之者無罪，聞之者足以戒，故曰《風》。至于王道衰，禮義廢，政教失，國異政，家殊俗，而《變風》、《變雅》作矣。國史明乎得失之迹，傷人倫之廢，哀刑政之苛，吟詠情性以風其上，達於事變而懷其舊俗者也。故《變風》發乎情，止乎禮義。發乎情，民之性也。止乎禮義，先王之澤也。是以一國之事、繫一人之本謂之《風》，言天下之事、形四方之風謂之《雅》。雅者、正也，言王政之所由廢興也。政有小大，故有《小雅》焉，有《大雅》焉。《頌》者、美盛德之形容，以其成功告於神明者也。是謂四始，《詩》之至也。然則《關雎》、《麟趾》之化，王者之《風》，故繫之周公。南、言化自北而南也。《鵲巢》、《騶虞》之德，諸侯之風也，先王之所以教，故繫之召公。《周南》、《召南》，正始之道，王化之基。是以《關雎》樂得淑女以配君子，憂在進賢不淫其色；哀窈窕，思賢才，而無傷善之心焉。是《關雎》之義也。","kind":"passage","script":"Hant","definitions":["詩者、志之所之也。在心為志，發言為詩。 — Poetry is where intention goes: held in the heart it is intention; expressed in speech it is poetry."],"mandarin":"","cantonese":[],"characters":[],"edition":"詩經 · 國風周南第一 · 1","dataset":"Kanseki Repository · KR1c0001","license":"CC BY-SA 4.0","licenseUrl":"https://creativecommons.org/licenses/by-sa/4.0/","sourceUrl":"https://github.com/kanripo/KR1c0001/blob/9d36bf3a055b7aba01597f0c0581838ef56dc497/KR1c0001_001.txt#L14-L116","source":{"line":14,"recordSha256":"305fa8043e206abaa591a8d808e2cf85c6e6e4aa68156fd2e47064ab44099495"},"classical":{"author":"Anonymous poems transmitted in the Mao tradition, with received prefaces and ancillary prose; individual attribution is uncertain.","contributor":"Kanseki Repository (Kanripo) contributors; upstream base-edition labels retained in each original file.","source":{"repository":"https://github.com/kanripo/KR1c0001","commit":"9d36bf3a055b7aba01597f0c0581838ef56dc497","file":"KR1c0001_001.txt","lineStart":14,"lineEnd":116,"fileSha256":"b4661ada4d6a9e806c32fc8f314085b7b4ee7d4250f140d7fdf538ddbb97f806","edition":"tls","sourceLabels":[],"sourceUrl":"https://github.com/kanripo/KR1c0001/blob/9d36bf3a055b7aba01597f0c0581838ef56dc497/KR1c0001_001.txt#L14-L116","rawUrl":"/data/classical-0.12.0/sources/KR1c0001/KR1c0001_001.txt","author":"Anonymous poems transmitted in the Mao tradition, with received prefaces and ancillary prose; individual attribution is uncertain.","contributor":"Kanseki Repository (Kanripo) contributors; upstream base-edition labels retained in each original file.","license":"CC BY-SA 4.0","licenseUrl":"https://creativecommons.org/licenses/by-sa/4.0/"},"notes":[{"id":"r136","passage":"shijing-001-0001","quote":"詩者、志之所之也。在心為志，發言為詩。","focus":"所之","start":62,"end":81,"focusStart":67,"topics":["topic","suo","wei"],"translation":"Poetry is where intention goes: held in the heart it is intention; expressed in speech it is poetry.","note":"This belongs to the received Great Preface, not to the verse of Guan ju. In 所之, 之 is read verbally as going or proceeding, unlike the linking 之 before 所. The formula offers an interpretation of poetry within a later framing text; it is not the anonymous song's own explanation of its composition.","question":"Which textual layer contains this statement?","answer":"The received preface, not the poem's verse.","attribution":{"author":"zimai · AI-assisted editorial notes","status":"Editorial pilot · not independently reviewed","license":"CC BY-SA 4.0","licenseUrl":"https://creativecommons.org/licenses/by-sa/4.0/","revision":"0.12.0"}}],"editorial":{"author":"zimai · AI-assisted editorial notes","status":"Editorial pilot · not independently reviewed","license":"CC BY-SA 4.0","licenseUrl":"https://creativecommons.org/licenses/by-sa/4.0/","revision":"0.12.0"},"interpretationScope":"English is provided only for the quoted teaching excerpt; source passage remains unchanged."}}}