[原文]
9.2 至于秦政刻文，爱颂其德。汉之惠景，亦有述容，沿世并作，相继于时矣。若夫子云之表充国，孟坚之序戴侯，武仲之美显宗，史岑之述熹后，或拟《清庙》，或范《駉》《那》，虽浅深不同，详略各异，其褒德显容，典章一也。至于班傅之《北征》《西[巡]征》，变为序引，岂不褒过而谬体哉!马融之《广成》《上林》，雅而似赋，何弄文而失质乎?又崔瑗《文学》，蔡邕《樊渠》，并致美于序，而简约乎篇。挚虞品藻，颇为精核;至云杂以风雅，而不变旨趣，徒张虚论，有似黄白之伪说矣。及魏晋[辨]杂颂，鲜有出辙，陈思所缀，以《皇子》为标;陆机积篇，惟《功臣》最显，其褒贬杂居，固末代之讹体也。
[今译]
至了秦始皇刻石，于是称颂他的功德。汉朝的惠帝景帝，也有描状容貌的歌舞，沿袭下来，都有创作，一代代继续不断了。像扬雄表扬赵充国的《赵充国颂》，班固称述窦融的《安丰戴侯颂》，傅毅赞美汉明帝的《显宗颂》，史岑称说邓后的《和熹邓后颂》，有的仿照《周颂・清庙》，有的效法《鲁颂・駉》和《商颂・那》，虽然或浅或深不相同，或详或略不一样，它的赞关功德，显示舞容，它的典雅的法则是一致的。到了班固的《北征颂》、傅毅的《西征颂》，变成铺叙，难道不是赞关过头变成破坏体制吗!马融的《广成颂》《上林颂》，要求典雅却写得像赋，为什么玩弄文采却失去它的本质呢?又崔瑗的《南阳文学颂》，蔡邕的《京兆樊惠渠颂》，都是把序文写得美好，却把颂写得简单。挚虞在《文章流别论》里对颂的评价，大都是精确的，至于说到其中夹杂着风雅，却不改变歌颂的旨趣，徒然发挥空论，好像黄铜白锡混杂着可以铸剑的胡说了。到了魏晋驳杂的颂，很少有离开写作规范的，曹植所作，以《皇太子生颂》做标志;陆机积起来的篇章，以《汉高祖功臣颂》最著名，其中赞美的和贬斥的混杂在一起，实是乱世的不正确的体制了。
9.2 The first Emperoг of Qin had stone inscriptions made to exalt his virtues. Emperor Hui and Emperor Jing of Han used hymns to glorify their ancestors. Clearly, the writing of hymns never ceased. Yang Xiong composed a hymn to General Zhao. Ban Gu dedicated one to General Dou. Fu Yi wrote one in honor of Emperor Ming. Shi Cen wrote one in honor of Empress Deng. They are all modeled on the hymns of Zhou, Lu, or Shang. Although they differ in depth or detail, they follow the same principle of praising virtues through exposition. As for Ban Gu's "Hymn to General Dou Xian's Northern Campaign" and Fu Yi's "Hymn to General Dou Xian's Western Campaign," both contain long narrative prefaces with excessive praises. They mark a deviation from the norm. Ma Rong's hymns to Guang Cheng and Shanglin resemble rhyme-prose; they parade art at the expense of substance. Cui Yuan's "Hymn to the Literary Talents of Nanyang" and Cai Yong's "Hymn to Fan the Canal Benefactor" have wonderful narrative prefaces, but the main parts of the hymns are too brief. Zhi Yu's comments on the hymn are on the whole precise and to the point. Yet when he said that the hymn also contained elements of the air and the ode, he ignored its generic nature. His statements in this respect are imprecise and confused. The mixed varieties of hymns written in the Wei and Jin dynasties followed established rules. Cao Zhi's representative piece is his "Hymn to the Birth of the Prince." Lu Ji's best-known hymn is dedicated to the heroes of Emperor Gaozu of Han. These works mix praise with censure and represent the errant tendency of the genre.
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