Thang; of Khân; of Kwei; and of Zhâo. They sang to him also the odes of the Minor Yâ and the Greater Yâ; and they sang finally the pieces of the Sung. We have thus, existing in the boyhood of Confucius, what we may call the present Book of Poetry, with its Făng, its Yâ, and its Sung. The only difference discernible is slight,—in the order in which the Books of the Făng followed one another.
Fourth. We may appeal in this matter to the words of Confucius himself. Twice in the Analects he speaks of the Shih as a collection consisting of 300 pieces[1]. That work not being made on any principle of chronological order, we cannot positively assign those sayings to any particular years of Confucius' life; but it is, I may say, the unanimous opinion of Chinese critics that they were spoken before the time to which Khien and Kû Hsî refer his special labour on the Book of Poetry.
To my own mind the evidence that has been adduced is decisive on the points which I specified. The Shih, arranged very much as we now have it, was current in China before the time of Confucius, and its pieces were in the mouths of statesmen and scholars, constantly quoted by them on festive and other occasions. Poems not included in it there doubtless were, but they were comparatively few. Confucius may have made a copy for the use of himself and his disciples; but it does not appear that he rejected any pieces which had been previously received into the collection, or admitted any which had not previously found a place in it.
4. The question now arises of what Confucius did for the Shih, if, indeed, he did anything at all. The only thing from which we can hazard an opinion on the What Confucius did for the Shih. point we have from himself. In the Analects, IX, xiv, he tells us:—'I returned from Wei to Lû, and then the music was reformed, and the pieces in- ↑ In stating that the odes were 300, Confucius probably preferred to use the round number. There are, as I said in the former chapter, altogether 305 pieces, which is the number given by Sze-mâ Khien. There are also the titles of six others. It is contended by Kû Hsî and many other scholars that these titles were only the names of tunes. More likely is the view that the text of the pieces so styled was lost after Confucius' death.
