[原文]
7.3 至于魏之三祖，气爽才丽，宰割辞调，音靡节平。观其北上众引，秋风列篇，或述酣宴，或伤羁戍，志不出于[淫]滔荡，辞不离于哀思，虽三调之正声，实韶夏之郑曲也。逮于晋世，则傅玄晓音，创定雅歌，以咏祖宗;张华新篇，亦充庭万。然杜夔调律，音奏舒雅，荀勖改悬，声节哀急，故阮咸讥其离声，后人验其铜尺。和乐之精妙，固表里而相资矣。
[今译]
到了魏国的太祖曹操、高祖曹丕、烈祖曹叡，意气豪爽，才华富丽。他们改作的歌辞曲调，音调浮扉，节奏平庸。看到其中《苦寒行》众曲，《燕歌行》等篇，有的叙述宴会，有的感伤飘泊和远征，情志不免放荡，文辞离不开哀怨，它们的乐调虽是《平调》《清调》《瑟调》的雅乐，它们的文辞比起虞舜的《韶》乐和夏禹的《大夏》来，却成了浮靡的歌曲。到了晋代，傅玄通晓音乐，创作雅正的歌词来歌咏晋朝的祖宗;张华作的新歌，也用作宫廷舞曲。然而魏杜夔调整音律，音调舒缓而雅正，晋初荀勖改正悬挂钟磬的距离，声音节奏凄厉而急促，所以阮咸讥讽它离开正声，后人检验他制作的铜尺。可见调整乐律要达到精微处，本是形式和内容相配合的。
7.3 Cao Cao, Cao Pi, and Cao Rui, the first three emperors of Wei, were noble in spirit and bright in talent, but the poems they composed after old tunes were not so outstanding. Cao Cao's "Song of Misery and Cold" and Cao Pi's "Song of the Northern Frontier" either described carousal or grieved over military and frontier life. The feelings are unrestrained, the language is sorrowful. Although they used the three classical tunes of the Han Dynasty, these poems were inferior to the classical music of Shao and Xia. In the Jin Dynasty Fu Xuan, who knew music, composed elegant songs in praise of ancestors. Zhang Hua wrote new songs, which were used for court dance. The music instituted by Du Kui was smooth and graceful; after Xun Xu altered the measurement for tuning sound pitches, music became sad and impetuous. Ruan Xian blamed Xun for violating the classical norm; Ruan's view was later confirmed by the discovery of an ancient bronze ruler for tuning music instruments. The excellence of harmonious music means that the external and the inner worlds are in perfect accord.
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