[原文]
7.2 夫乐本心术，故响浃肌髓，先王慎焉，务塞淫滥。敷训胄子，必歌九德;故能情感七始，化动八风。自雅声浸微，溺音腾沸。秦燔乐经，汉初绍复，制氏纪其铿锵，叔孙定其容[与]典;于是《武德》兴乎高祖，《四时》广于孝文，虽摹《韶》《夏》，而颇袭秦旧，中和之响，阒其不还。暨武帝崇礼，始立乐府，总赵代之音，撮齐楚之气，延年以曼声协律，朱马以骚体制歌。《桂华》杂曲，丽而不经，《赤雁》群篇，靡而非典，河间荐雅而罕御，故汲黯致讥于《天马》也。至宣帝雅颂，诗效《鹿鸣》;迩及元成，稍广淫乐，正音乖俗，其难也如此。暨后汉郊庙，惟杂雅章，辞虽典文，而律非夔旷。
[今译]
音乐根据性情制作，所以它的影响深入骨髓，古先圣王在制作音乐上是很谨慎的，务必要阻止淫荡浮靡的音乐。教育贵族子弟，一定要唱多种功德的歌;所以能够感动天地、四时和人心，影响四面八方的教化。自从雅正的音乐逐渐衰落，淫靡的音乐蓬勃兴起。秦朝把乐经烧掉了，汉朝初年加以继承恢复，音乐家制氏能够记下古乐的音响节奏，叔孙通规定歌舞的制度和仪式;于是《武德舞》在汉高祖时创作，《四时舞》在汉文帝时加以扩充，虽然模仿舜的《韶》乐，禹的《夏》乐，但多沿用秦代的音乐，中正和平的音调，寂寞而不再恢复。到了汉武帝尊重礼乐，开始创立乐府机关，汇总赵国、代国的音乐，搜集齐国、楚国的腔调，李延年因为善于摇曳声腔来给民歌配上音乐，朱买臣、司马相如用《离骚》体制作歌辞。《桂华》等曲歌辞华丽而不合雅乐，《赤雁》等歌音调浮靡而不合正音，河间献王献上古乐，但武帝很少采用，所以汲黯对新作的《天马歌》进行讥讽。到汉宣帝时歌颂功德，效法《小雅》中的《鹿鸣》诗;到了汉元帝、成帝，稍稍扩大浮靡的音乐，雅正的古乐不合世俗爱好，它的推行这样困难。到后汉祭天祭祖庙，夹杂着一些古乐，文辞虽然雅正，可是音律不再是夔和师旷的古调了。
7.2 Because music is originally the art of the heart, its sound can touch the soul. For this reason, early emperors cautiously prohibited excessive and immoral music. The education of noble sons included the chanting of the nine virtues. Through such chanting, they would learn to respond emotionally to the change of seasons and to spread their influence across the empire. With the decline of classical music, immoderate tunes appeared everywhere. After the Book of Music was burned in the Qin Dynasty, attempts were made to revive music early in the Han. Zhi Shi recorded the tunes in music score; Shusun Tong set down the rules and ritual. Thus the music "Martial Feats" appeared at the time of Emperor Gaozu; and "Four Seasons" became popular during Emperor Wen's reign. Although both were modeled after the classical music of Shao and Xia, on the whole they inherited the tunes of the Qin Dynasty. The music of the golden mean harmonyt became silent forever. Emperor Wu of Han revered rituals and instituted the Music Bureau. The songs of the states of Zhao and Dai were collected; the airs of the states of Qi and Chu were gathered. Li Yannian composed melodies in enchanting tunes; Zhu Maichen and Sima Xiangru wrote poems in the style of Qu Yuan. Songs like The Osmanthus Flowers" were ornamented but not elegant; songs like The Red Goose" were alluring but not classical. Prince Liu De submitted classical-style poems to the Emperor, but they were seldom appreciated. That explains why even Ji An, an imperial attendant, would speak against the Emperor's song "The Heavenly Steed." During Emperor Xuan's reign, poems were written in imitation of The Bleating Deer." By the times of Emperor Yuan and Emperor Cheng, immoral music spread. The classical music, alien to popular taste, suffered. The sacrificial music of the Later Han had some classical elements, but only the words, not the music, retained the classical elegance of Kui and Shi Kuang.
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