How were the odes collected in the first place? In his Account of a Conversation concerning 'a Right Regulation of Governments for the Common Good of Mankind' (Edinburgh, 1704), p. 10, Sir Andrew Fletcher, of Saltoun, tells us the opinion of 'a very wise man,' that 'if a man were permitted to make all the ballads of a nation, he need not care who should make its laws.' A writer in the Spectator, no. 502, refers to a similar opinion as having been entertained in England earlier than the time of Fletcher. 'I have heard,' he says, 'that a minister of state in the reign of Elizabeth had all manner of books and ballads brought to him, of what kind soever, and took great notice how they took with the people; upon which he would, and certainly might, very well judge of their present dispositions, and of the most proper way of applying them according to his own purposes [2].'
[1. As in the case of the Shû, Confucius generally speaks of 'the Shih,' never using the name of 'the Shih King.' In the Analects, IX, xiv, however, he mentions also the Yâ and the Sung; and in XVII, x, he specifies the Kâu Nan and the Shâo Nan, the first two books of the Kwo Fang. Mencius similarly speaks of 'the Shih;' and in III, i, ch. 4, he specifies 'the Sung of Lû,' Book ii of Part IV. In VI, ii, ch. 3, he gives his views of the Hsiâo Phan, the third ode of decade 5, Part II, and of the Khâi Fung, the seventh ode of Book iii of Part I.
2 This passage from the Spectator is adduced by Sir John Davis in his treatise on the Poetry of the Chinese, p. 35.]
The theory of the Chinese scholars about a collection of poems for governmental purposes.
In harmony with the views thus expressed is the theory of the Chinese scholars, that it was the duty of the ancient kings to make themselves acquainted with all the poems current in the different states, and to judge from them of the rule exercised by the several princes, so that they might minister praise or blame, reward or punishment accordingly.
The rudiments of this theory may be found in the Shû, in the Canon of Shun; but the one classical passage which is appealed to in support of it is in the Record of Rites, III, ii, parr. 13, 14:--'Every fifth year, the Son of Heaven made a progress through the kingdom, when the Grand Music-Master was commanded to lay before him the poems of the different states, as an exhibition of the manners and government of the people.' Unfortunately, this Book of the Lî Kî, the Royal Ordinances, was compiled only in the reign of the emperor Wan of the Han dynasty (B.C. 179 to 155). The scholars entrusted with the work did their best, we may suppose, with the materials at their command they made much use, it is evident, of Mencius, and of the Î Lî. The Kâu Lî, or the Official Book of Kâu, had not then been recovered. But neither in Mencius nor in the Î Lî do we meet with any authority for the statement before us. The Shû mentions that Shun every fifth year made a tour of inspection; but there were then no odes for him to examine, for to him and his minister Kâo-yâo is attributed the first rudimentary attempt at the poetic art. Of the progresses of the Hsiâ and Yin sovereigns we have no information; and those of the kings Of Kâu were made, we know, only once in twelve years. The statement in the Royal Ordinances, therefore, was probably based only on tradition.
Notwithstanding the difficulties that beset this passage of the Lî Ki, I am not disposed to reject it altogether. It derives a certain amount of confirmation from the passage quoted from the Official Book of Kâu on p. 278, showing that in the Kâu dynasty there was a collection of poems, under the divisions of the Fang, the Yâ, and the Sung, which it was the business of the Grand, Music-Master to teach the musicians of the court. It may be accepted then, that the duke of Kâu, in legislating for his dynasty, enacted that the poems produced in the different feudal states should be collected on occasion of the royal progresses, and lodged thereafter among the archives of the bureau of music at the royal court. The same thing, we may presume à fortiori, would be done, at certain other stated times, with those produced within the royal domain itself.
The music-master of the king would get the odes of each state from its music-master.
But the feudal states were modelled after the pattern of the royal state. They also had their music-masters, their musicians, and their historiographers. The kings in their progresses did not visit each particular state, so that the Grand Music Master could have the opportunity to collect the odes in it for himself. They met, at well-known points, the marquises, earls, barons, &c., of the different quarters of the kingdom; there gave audience to them; adjudicated on their merits, and issued to them their orders. We are obliged to suppose that the princes were attended to the places of rendezvous by their music-masters, carrying with them the poetical compositions gathered in their several regions, to present them to their superior of the royal court. We can understand how, by means of the above arrangement, the poems of the whole kingdom were accumulated and arranged among the archives of the capital.
How the collected poems were disseminated through the states.