| | 玉藻: |
犬羊之裘不裼，不文飾也不裼。裘之裼也，見美也。吊則襲，不盡飾也；君在則裼，盡飾也。服之襲也，充美也，是故尸襲，執玉龜襲，無事則裼，弗敢充也。 |
| Yu Zao: |
With dog's fur or sheep's fur, they did not wear any jacket of silk over it. Where there was no ornamentation, they did not use the jacket. The wearing the jacket was to show its beauty. When condoling, they kept the jacket covered, and did now show all its ornamental character; in the presence of the ruler, they showed all this. The covering of the dress was to hide its beauty. Hence, personators of the deceased covered their jackets of silk. Officers holding a piece of jade or a tortoise-shell (to present it) covered it; but if they had no (such official) business in hand, they displayed the silken garment, and did not presume to cover it. |
| | 玉藻: |
君與尸行接武，大夫繼武，士中武，徐趨皆用是。疾趨則欲發而手足毋移，圈豚行不舉足，齊如流，席上亦然。端行，頤溜如矢，弁行，剡剡起屨，執龜玉，舉前曳踵，蹜蹜如也。 |
| Yu Zao: |
A ruler and a representative of the dead brought their feet together step by step when they walked; a Great officer stepped along, one foot after the other; an ordinary officer kept the length of his foot between his steps. In walking slowly, they all observed these rules. In walking rapidly, while they wished to push on (and did so), they were not allowed to alter the motion either of hands or feet. In turning their feet inwards or outwards, they did not lift them up, and the edge of the lower garment dragged along, like the water of a stream. In walking on the mats it was the same. When walking erect, (the body was yet bent, and) the chin projected like the eaves of a house, and their advance was straight as an arrow. When walking rapidly, the body had the appearance of rising constantly with an elevation of the feet. When carrying a tortoise-shell or (a symbol of) jade, they raised their toes and trailed their heels, presenting an appearance of carefulness. |
| | 玉藻: |
凡行容愓愓，廟中齊齊，朝庭濟濟翔翔。君子之容舒遲，見所尊者齊遫。足容重，手容恭，目容端，口容止，聲容靜，頭容直，氣容肅，立容德，色容莊，坐如尸，燕居告溫溫。 |
| Yu Zao: |
In walking (on the road), the carriage of the body was straight and smart; in the ancestral temple, it was reverent and grave; in the court, it was exact and easy. The carriage of a man of rank was easy, but somewhat slow; grave and reserved, when he saw any one whom he wished to honour. He did not move his feet lightly, nor his hands irreverently. His eyes looked straightforward, and his mouth was kept quiet and composed. No sound from him broke the stillness, and his head was carried upright. His breath came without panting or stoppage, and his standing gave (the beholder) an impression of virtue. His looks were grave, and he sat like a personator of the dead. When at leisure and at ease, and in conversation, he looked mild and bland. |
| | 喪服小記: |
父為士，子為天子諸侯，則祭以天子諸侯，其尸服以士服。父為天子諸侯，子為士，祭以士，其尸服以士服。 |
| Sang Fu Xiao Ji: |
When the father was an officer, and the son came to be king or a feudal prince, the father was sacrificed to with the rites of a king or a lord; but the personator wore the dress of an officer. When the father had been the son of Heaven, or a feudal lord, and the son was (only) an officer, the father was sacrificed to with the rites of an officer, but his personator wore only the dress of an officer. |
| | 喪服小記: |
練，筮日筮尸，視濯，皆要絰杖繩屨。有司告具，而後去杖。筮日筮尸，有司告事畢而後杖，拜送賓。大祥，吉服而筮尸。 |
| Sang Fu Xiao Ji: |
When the time was come for the sacrifice at the end of the first year's mourning, they consulted the divining stalks about the day for it, and the individual who was to act as personator of the deceased. They looked that everything was clean, and that all wore the proper girdle, carried their staffs, and had on the shoes of hempen-string. When the officers charged with this announced that all was ready, (the son) laid aside his staff, and assisted at the divinations for the day and for the personator. The officers having announced that these were over, he resumed his staff, bowed to the guests (who had arrived in the meantime), and escorted them away. At the sacrifice for the end of the second year, (the son) wore his auspicious (court) robes, and divined about the personator. |
| | 少儀: |
婦人吉事，雖有君賜，肅拜。為尸坐，則不手拜，肅拜；為喪主則不手拜。葛絰而麻帶。 |
| Shao Yi: |
A wife, on festive occasions, even though it were on receiving a gift from the ruler, (only) made a curtsy. When seated as a personatrix (of the deceased grandmother of her husband), she did not bow with her head to her hands, but made the curtsy. When presiding at the mourning rites, she did not bow with her head to her hands lowered to the ground. (After the sacrifice of repose), her head-band was of dolychos cloth, and her girdle of hempen. |
| | 少儀: |
客爵居左，其飲居右；介爵、酢爵、僎爵皆居右。羞濡魚者進尾；冬右腴，夏右鰭；祭膴。凡齊，執之以右，居之於左。贊幣自左，詔辭自右。酌尸之仆，如君之仆。其在車則左執轡右受爵，祭左右軌范乃飲。 |
| Shao Yi: |
The cup with which the guest was pledged was placed on the left; those which had been drunk (by the others) on the right. Those of the guest's attendant, of the host himself, and of the host's assistant - these all were placed on the right. In putting down a boiled fish to be eaten, the tail was laid in front. In winter it was placed with the fat belly on the right; in summer with the back. The slices offered in sacrifice (to the father of the fish-diet were thus more easily cut). All condiments were taken up with the right (hand), and were therefore placed on the left. He who received the presents offered (to the ruler) was on his left; he who transmitted his words, on the right. A cup was poured out for the driver of a personator of the dead as for the driver of the ruler. In the carriage, and holding the on the right and left (to the father of charioteering), and then drank off the cup. |
| | 少儀: |
牛與羊魚之腥，聶而切之為膾；麋鹿為菹，野豕為軒，皆聶而不切；麇為辟雞，兔為宛脾，皆聶而切之。切蔥若薤，實之醯以柔之。其有折俎者，取祭肺，反之，不坐；燔亦如之。尸則坐。 |
| Shao Yi: |
The flesh of oxen, sheep, and fish was cut small, and made into mince. 'That of elks and deer was pickled; that of the wild pig was hashed: these were all sliced, but not cut small. The flesh of the muntjac was alone pickled, and that of fowls and hares, being sliced and cut small. Onions and shalots were sliced, and added to the brine to soften the meat. When the pieces of the divided body were on the stand, in taking one of them to offer and in returning it, they did not kneel. So it was when they made an offering of roast meat. If the offerer, however, were a personator of the dead, he knelt. |
| | 樂記: |
樂者，非謂黃鐘大呂弦歌干揚也，樂之末節也，故童者舞之。鋪筵席，陳尊俎，列籩豆，以升降為禮者，禮之末節也，故有司掌之。樂師辨乎聲詩，故北面而弦；宗祝辨乎宗廟之禮，故後尸；商祝辨乎喪禮，故後主人。是故德成而上，藝成而下；行成而先，事成而後。是故先王有上有下，有先有後，然後可以有制於天下也。 |
| Yue Ji: |
When we speak of music we do not mean the notes emitted by the Guang Zhong, Da Lu, (and the other musical pipes), the stringed instruments and the singing, or the (brandishing of the) shields and axes. These are but the small accessories of the music; and hence lads act as the pantomimes. (In the same way), the spreading of the mats, the disposing of the vases, and the arranging of the stands and dishes, with the movements in ascending and descending, are but the small accessories of ceremonies; and hence there are the (smaller) officers who direct them. The music-masters decide on the tunes and the pieces of poetry; and hence they have their places with their stringed instruments, and their faces directed to the north. The prayer-officers of the ancestral temple decide on the various ceremonies in it, and hence they keep behind the representatives of the deceased. Those who direct the mourning rites after the manner of the Shang dynasty, have their places (for the same reason) behind the presiding mourner. It is for this reason that the practice of virtue is held to be of superior worth, and the practice of any art of inferior; that complete virtue takes the first place, and the doing of anything, (however ingenious, only) the second. Therefore the ancient kings had their distinctions of superior and inferior, of first and last; and so they could frame their music and ceremonies for the whole kingdom. |
