[原文]
5.1自风雅寝声，莫或抽绪，奇文郁起，其《离骚》哉!固已轩翥诗人之后，奋飞辞家之前，岂去圣之未远，而楚人之多才乎!昔汉武爱《骚》，而淮南作传，以为:“《国风》好色而不淫，《小雅》怨诽而不乱，若《离骚》者，可谓兼之。蝉蜕秽浊之中，浮游尘埃之外，皭然涅而不缁，虽与日月争光可也。”班固以为:露才扬已，忿怼沉江，羿浇二姚，与左氏不合，昆仑悬圃，非经义所载。然其文辞丽雅，为词赋之宗，虽非明哲，可谓妙才。王逸以为:诗人提耳，屈原婉顺。《离骚》之文，依经立义:驷虬乘鹥，则时乘六龙;昆仑流沙，则《禹贡》敷土。名儒辞赋，莫不拟其仪表，所谓金相玉质，百世无匹者也。及汉喧嗟叹，以为皆合经术;扬雄讽味，亦言体同《诗・雅》。四家举以方经，而孟坚谓不合传，褒贬任声，抑扬过实，可谓鉴而弗精，玩而未核者也。
[今译]
自从《国风》和小大《雅》的歌声停止了，没有谁来继承下去，有奇文在深厚的积累中挺生出来，是《离骚》啊!它确巳高飞在《诗经》的作者以后，奋起在辞赋家以前，大概是离开圣人不久，加上楚人的富有才华吧!从前汉武帝爱好《离骚》，使淮南王刘安作《离骚传》，认为“《国风》写恋情而不过分，《小雅》写怨愤而有节制，像《离骚》那样，可说兼有这两种好处。像蝉蛹从污泥中蜕变出来，在尘土外浮游，皎洁得连染也染不黑，即使跟日月比光明也是可以的。”班固认为:屈原显露才华，宣扬自己，怀着怨恨，投江自杀;《离骚》中讲到后羿、过浇和姚姓两女，跟《左传》中讲的不一致;讲到昆仑山上的悬圃，是经书中所没有记载的。然而它的文辞艳丽雅正，成为辞赋家效法的准则，虽然不能算贤明，可以认为妙才。王逸认为:《诗经》里说要扯耳朵告诚，屈原比起这话来显得态度和顺。《离骚》的文辞，依照经书来立论:像说驾龙骑凤，那是《易经》中按时驾六龙的说法;说登昆仑经流沙，便是《禹贡》里到各地治理水土的说法。后代著名学者的辞赋，没有不拿他的作品作为榜样的，所谓有金玉的美质，百代无比的。到了汉宣帝赞关《离骚》，认为都合于经书;扬雄吟味，也说体制和《诗经》的小大《雅》相同。四家拿它来比经书，班固却说它不合《左传》，赞美或者指责都只看表面，贬低抬高都超过实际，可以说鉴别得不精当，品评得不核实。
5.1 After the decline of the "Airs" and the "Odes", the tradition of the Book of Poetry was not carried on. Bursting forth thereafter in unprecedented splendor was the Songs of the South. It spread its wings in the wake of the ancient poets and soared in the van of the writers of rhyme-prose. Was that perhaps because its time was not far gone from that of the sages, and the state of Chu was a land of many talents? Emperor Wu of Han, a lover of the Songs of the South, once asked Prince Liu An to write a commentary. The Prince wrote: 'The Airs of the States' are erotic without excess; 'the Minor Odes' convey grievances and satire with restraint. The Songs of the South combines both. The cicada exuviates from sludge and mire, yet it disdains to be begrimed, keeping clear of the dirty world. The Songs of the South is like this: It can rival the sun and moon in brilliance. Ban Gu demurred, noting that Qu Yuan had drowned himself in resentment and anguish because he was too proud of his talent; that Qu's version of Yi the Archer, Jiao the Sovereign, and the two daughters of Lord Yu contradicted the Spring and Autumn Annals with Zuo's Commentary; and that the images of Mount Kunlun and the Heavenly Garden were never mentioned in the classics. Yet Ban also believed that Qu Yuan's poetic language possessed beauty and elegance, a fit model for writers of rhyme-prose, and that not being a sage, Qu was nevertheless an extraordinary genius. Wang Yi commented: The authors of the Book of Poetry exhorted by ear-pulling; Qu Yuan was more gentle and indirect. The ideas in "Encountering Sorrow" were based on the classics. For example, the jade dragons pulling a phoenix-figured carriage alluded to the six dragons in the Book of Changes, while Mount Kunlun and the Flowing Sands could be traced to the Book of Documents. That is why, according to Wang Yi, eminent writers of rhyme-prose followed his example. His poetry was indeed gold and jade in substance, peerless in a hundred generations. Later, Emperor Xuan of Han commended the Songs of the South as congenial to the classics and Yang Xiong,6 after a careful reading, said that it agreed with the Book of Poetry in spirit. Thus four commentators considered the Songs of the South as in line with the classics while Ban Gu believed otherwise. These commentators, however, failed to go beneath the surface in their praise or censure. They stretched the truths, their judgments were inaccurate, and their evaluation unconvincing.
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