国史明乎得失之迹,伤人伦之废,哀刑政之苛,吟咏情性,以风 (fěng)其上。达于事变而怀其旧俗者也。故变风发乎情,止乎礼义。发乎情,民之性也;止乎礼义,先王之泽也。
                                    (《毛诗序》)
                                    (周代的史官知道政治得失的轨迹,感伤人伦关系的废弛,哀叹刑法施政的严苛,吟唱歌咏自己的情思感受,为的是讽喻人君。这是通晓世事变化而怀念旧时风俗以规谏执政者的缘故。所以“变风”发自内心情感,但不超过礼义规定的限度。发自内心情感,这是出于民众的天性;不超过礼义规定的限度,这是先王教化留下的恩泽。)
                                    Official historians of the Zhou Dynasty were aware of lessons concerning political gain and loss, lamented the abandonment of codes governing human relations, bemoaned the harsh enforcing of laws and government, and sang or chanted to express their feelings and emotions, in order to admonish the monarch. They knew well the vicissitudes of worldly affairs and were nostalgic for bygone customs. “A variation in poetic style” is expressive of poets' inner feelings and, for that matter, an articulation of common folk's natural inclination, but such expression should be kept within the confines of propriety and justice, a good heritage left by the late kings.
                                    	(Introductions to Mao’s Version of The Book of Songs)
 
                                
                                
                                    不发乎情,即非礼义,故诗要有乐有哀;发乎情,未必即礼义,故诗要哀乐中节。
                                    (刘熙载《艺概·诗概》)
                                    不从情感中生发的,自然不会合乎礼义,所以诗歌中有快乐也有哀伤;从情感中生发的,也不一定就合乎礼义,所以诗歌的哀伤、快乐都要符合礼义规定的限度。
                                    Not to express feelings and emotions naturally does not conform to propriety and righteousness, so there should be joy and sorrow in poems. Feelings and emotions expressed not necessarily conform to propriety and righteousness, and thus sorrow and joy in poems should be kept within the confines of propriety and righteousness.
                                    (Liu Xizai: Overview of Literary Theories)