[原文]
9.1 四始之至，颂居其极。颂者，容也，所以美盛德而述形容也。昔帝喾之世，咸墨为颂，以歌九韶。自商以下，文理允备。夫化偃一国谓之风，风正四方谓之雅，容告神明谓之颂。风雅序人，事兼变正；颂主告神，义必纯美。鲁国以公旦次编，商人以前王追录，斯乃宗庙之正歌，非宴飨之常咏也。《时迈》一篇，周公所制，哲人之颂，规式存焉。夫民各有心，勿壅惟口。晋舆之称原田，鲁民之刺裘鞸，直言不咏，短辞以讽，丘明子[高]顺，并[谍]谓为诵，斯则野诵之变体，浸被乎人事矣。及三闾《橘颂》，情采芬芳，比类寓意，又覃及细物矣。
[今译]
风、大小雅、颂是极好的，颂又是它最好的。颂是容貌，用来赞美大的德行，借舞蹈的容貌来表达。从前帝喾的时代，威墨作颂来歌唱《九韶》。从《商颂》以来，颂的文辞和意思实是完备了。教化影响到一个诸侯国的诗叫做“风”，影响到端正天下风俗的诗叫做“雅”，用容貌舞蹈来禀告神道的诗叫做“颂”。“风”和“雅”叙述人事，人事兼有正确的和变乱的，故“风”“雅”有正和变。“颂”以禀告神道为主，含意一定要纯正美好。鲁国因周公旦的功勋按次序编成《鲁颂》，商朝人因追念先王记下《商颂》，这是用在宗庙里的雅正乐歌，不是宴会上经常唱的歌咏。《周颂》中的《时迈》这一篇，周公创作，圣人的颂，保存着作颂的规范。百姓各有各的想法，不要禁止他们说话。晋国众人的赞美田野，鲁国百姓的讽刺穿着鹿裘和祭服的，直率地说出，不是歌咏，用简短的话来讽喻，左丘明和子顺，都称做诵，这是民间的诵，是颂的变体，渐渐影响到人事上去了。到了楚国三闾大夫屈原作《橘颂》，情感和文采都很美好，用类似的物作比，寄托自己的情意，颂又推广到细小的物品了。
9.1 The hymn is the ultimate achievement of the four components in the Book of Poetry. A hymn is a description: It describes outward appearances in order to glorify virtue. In the time of the ancient king Di Ku, Xian Mo wrote a hymn entitled "Nine Evocations." With the hymns of Shang in the Book of Poetry, hymn writing reached its final form. Poems that mould the behavior of a people are called feng, or airs. Poems that regulate the customs of the four quarters are called ya, or odes. Poems that commend human virtues to the deities are called song, or hymns. The air and the ode concern human affairs; their forms are various. A hymn is addressed to the deities; its meaning must be pure and noble. The hymns of Lu were compiled to commend the virtues of Lord Zhou, the hymns of Shang to record the merits of earlier kings. Both were formal sacrificial songs, not songs for ordinary feasting parties. "Progress through the Kingdom" was written by Duke Zhou. A wise man's work, it upheld the standard. All people have thoughts; none can silence them. In the Spring and Autumn period, the people of the Jin State praised their army with phrases like "luxuriant like grass upon the plain." The natives of Lu satirized Confucius with such comments as "He does not deserve his official garment." Both were plain, brief statements, although Zuo Qiuming and Kong Zishun called them hymns. They were varieties that deviated from the norm, for they dealt with human affairs. When Qu Yuan wrote "Hymn to the Orange Tree," he imbued it with feeling and art and charged it with rich imagery, but at the same time he introduced petty subjects into the hymn.
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