In the harvest year, there is a towering granary on the side of the grain field, and hundreds of millions of grains are well stored.

Thousands of cups of fine wine are brewed and offered before the spirits of ancestors.

Various festivals were held one by one, and the blessings of Monkey King descended on all households.

"有瞽" (gǔ): Zhou Tianzi worships his ancestors

This is a poem that reflects Zhou Tianzi's music and worship of his ancestors.

In the courtyard of the temple of the Zhou Dynasty, there are many musical instruments, when the instruments are complete, the musicians begin to play together, the sound is loud and harmonious, the ancestors and gods come to appreciate, and the distinguished guests who participate in the sacrifice listen to all the performances.

In the political life of the pre-Qin era, music had a special and important position, and it was often closely related to etiquette. In the Book of Rites, it is written: Le embodies the harmony of heaven and earth, and ritual embodies the order between heaven and earth, because of the harmony of heaven and earth, so all things can coexist harmoniously, because there is order in heaven and earth, so all things are different; Joy is made by imitating the heavens, and rituals are made by imitation; If the production of ritual destroys order, it will cause chaos, and if the production of music destroys harmony, it will lead to extremism; Figure out the relationship between ritual music and heaven and earth, and then you can make ritual music. Today's poem is a chapter describing music, which reflects the traditional concept of the ancestors who attached equal importance to ritual and music.

According to the records of the "Zhou Li", there were 300 blind musicians among the performers, and 300 assistants who supported the blind musicians and supervised the music. It can be seen that the scale of the royal band at that time was quite large. This poem describes the spectacular scene of the royal band playing.

Blind musicians form a band, and the royal family is called to the temple during the festival, indicating that the main body of music played at the temple is blind musicians. The music is composed of percussion instruments such as small drums, large drums, standing drums, chimes, 柷, 圉 (yǔ), as well as bamboo wind instruments such as pipes.

The 31 poems in "Song of Zhou" are all musical poems, but the only poem that directly describes the musical scene is today's one. From this, we can not only understand the glory of the music of the Zhou Dynasty, but also have a deeper understanding of the pious concept that the music of the Zhou people was made by heaven and could be communicated through music.

Blind musicians form a band, and the royal family is called to the temple to worship their ancestors.

A music stand with bells and drums hanging, decorated with multicolored feathers.

The small drums and big drums are all in place, and the chimes are placed in an orderly manner.

When everything was ready, the music began to play, and the pipes resounded in unison.

The symphony of music was loud, solemn, soothing, harmonious and beautiful, and the ancestors and gods listened with high interest.

All guests are invited to come and enjoy this set of music for a long time.

鞉 (táo) 柷 (zhù) 敔 (yǔ)

"Diving": Pray for blessings every year, there are fish

This is a song of Zhou Tianzi using all kinds of Jiayu to sacrifice in the temple, in the depths of the lacquer water and depressed water, there are all kinds of fatty fish, and they are beaten up to worship the ancestors.

Lacquer water and frustration water is an important mark in the history of the development of the Zhou Dynasty, "Historical Records" records that Gong Liu crossed the Weishui from lacquer and frustration two waters, cut down timber, let the people on the road have entanglement, let the people at home have reserves, the people rely on his kindness, the people are grateful to him, most of them moved to join him, and the great prosperity of the Zhou people began here. Zhou Songzhong's works rarely mention specific place names, and the mention of specific place names is related to the sacrificial object, and Gongliu is not written in the poem, but Gongliu is the key figure of Zhou Daozhixing, so the sacrificial object of this poem must be Gongliu. The Zhou people praised the lacquer water and the frustrated water, not only based on the beauty and richness of the two waters, but also with a strong sense of pride.

This is a sacrificial poem dedicated to fish as an offering, and the number of fish, the variety of species, and the familiarity of people with the fish species show that the fishery was very effective at that time. Underwater in the water, the role of this simple firewood and grass pile is not to be underestimated, and it is these firewood and grass piles that attract the gathering of large armies of fish. This primitive and effective method of fish farming may have originated in the Gongliu period, and it is written in the "Historical Records" that Gongliu cultivated the land according to its cultivation characteristics, and the potential bottom fish farming with firewood and grass piles may have been a creative production measure adapted to local conditions. The sacrificial poem is inseparable from the praise of merit, this poem clearly writes the praise of the scenic resources of lacquer water and frustration water, and the praise of the merits of Gongliu is hidden between the lines.

Catching fresh fish and worshipping and praying for the blessings of the ancestors is a sacrificial activity of drinking water and thinking about the source and praying for blessings. If the fish were exchanged for other offerings, the meaning of the sacrifice would be compromised. In this poem, the fish is carried out to the end, once in the winter and again in the spring of the following year, and the offerings are all fish, and the fish and Yu are homonyms. This gives us reason to infer that the New Year paintings with fish that are still widely circulated today, and the custom of leaving the fish intact for the New Year at the folk Chinese New Year's Eve banquet without moving chopsticks to it, are in the same vein as the sacrifice described in today's poem, and the blessing prayed for in this poem is Yu.

The scenery of Qishui and Fushui is beautiful, and it contains rich fishery resources.

There are countless tuna, and minnows and carp also flock out of the waves.

Catch fresh fish and worship them respectfully, and pray for the blessings of the ancestors.

"雝" (yōng): The minister is virtuous and the monarch is clear, and the world is stable

This is a musical song in which Zhou Tianzi removed the sacrificial ritual after the sacrifice in the temple.

Although the Zhou royal family was not yet able to exercise firm and effective control over the whole country like the centralized dynasties of later generations, the king of Zhou was the son of heaven after all, "under the whole world, it is not the king's land; The princes still have to fulfill their duties to the Son of Heaven, and the princes need to be diligent when there is a war, and the princes need to help the sacrifice when there is a sacrifice. The princes of various countries helped each other to sacrifice, and the Son of Heaven was beautiful and dignified in the middle, which was the situation where the princes helped to sacrifice.

The attitude of the princes was respectful, not only to the object of the sacrifice, that is, the deceased ancestor of Zhou Tianzi, but also to Zhou Tianzi himself, who was at the center of the sacrifice. Zhou Tianzi had a dignified attitude when he sacrificed, and his form was grand and majestic. Those sumptuous offerings may have been prepared by the Son of Heaven himself, or they may have been offered by the princes, and in the solemn sound of music, the princes assisted the Son of Heaven in displaying and worshipping. A sacrificial ceremony, which not only has rich sacrifices, but also includes the political dignitaries of the time, which shows that it is extremely grand.

The ancestor should refer to King Wen, and the filial son is King Wu. With the prestige and meritorious deeds of King Wu, it is not only not difficult to summon the princes or princes to take the initiative to help the sacrifice, but it is inevitable. However, this kind of ceremonial ceremony with the help of the princes began with King Wu, and it was also used after King Wu, such as King Cheng sacrificing King Wu and King Kang sacrificing King Cheng, all of which will adopt the form of such a prince's sacrifice. This form, which not only showed the authority of Zhou Tianzi among the princes, but also showed the submission of the princes, and became a symbol of the consolidation of the Zhou royal family's power, and Zhou Tianzi was naturally very happy to display this symbol on a regular basis. As for the decline of the power of the Zhou royal family later, and gradually lost control over the princes, so that the princes have coveted Jiuding, I am afraid that the display of this symbol will be difficult to continue.