"Almost all “Eulogies of Zhou” are very short: of the thirty-one poems, eight have between 18 and 30 characters; nine between 31 and 40;four between 41 and 50; six between 51 and 60; and only the remaining four hymns have 62, 64, 92, and 124 characters. It is not certainthat, originally, these poems existed as discrete, self-contained textualunits: first, in the Zuo Tradition account quoted above, the eulogiesrelated to King Wu’s conquest form a single unit of several sections orstanzas (zhang) while in the Mao Poetry, they are divided into individual poems with separate titles.18 Second, a hymn of just 18 words,accompanied by music and dance, was probably not considered (orperformed as) a text of its own. Third, some “Eulogies of Zhou” areclosely interrelated: they share entire lines or even couplets with oneanother but not with other poems, marking them as a single larger unitof text.19 Thus, of the thirty components of characters of “Year ofAbundance” (Mao 279 “Feng nian”), sixteen are verbatim identical toverses in “Clear Away the Grass” (Mao 290 “Zai shan”). At the sametime, “Clear Away the Grass” also shares three more lines with “GoodPloughs” (Mao 291 “Liang si”), and additional individual lines withfour other neighboring texts.20 One may, thus, think of the texts of the“Eulogies of Zhou” not as individually authored texts but as variationsof material taken from a shared poetic repertoire. This repertoire waslargely confined to the “Eulogies” themselves (from which later court hymns then borrowed the occasional line), operating within the formaland semantic constraints of ritual utterances. In the performance of theancestral sacrifice, they represented configurations of what Jan Assmann calls “identity-securing knowledge” that is “usually performed inthe form of a multi-media staging which embeds the linguistic textundetachably in voice, body, miming, gesture, dance, rhythm, andritual act … By the regularity of their recurrence, feasts and rites grantthe imparting and transmission of identity-securing knowledge andhence the reproduction of cultural identity.” 21 Not surprisingly, the“Eulogies” are only one arena where this repertoire of memory of theZhou foundational narrative becomes realized and staged in varioustextual forms; another place is the sequence of several “harangues” (shi)in the Classic of Documents where King Wu’s conquest is recalled invarious speeches attributed to him, with the king staged as speaker.22 "You Gu:
Articles relating to Decade of Chen Gong
The Bloomsbury Research Handbook of Early Chinese Ethics and Political Philosophy
https://books.google.co.uk/books?id=oxGEDwAAQBAJ&pg=PT99&lpg=PT99&dq=Chen+Gong+poem+shi+jing&source=bl&ots=jT8SB1TlOQ&sig=ACfU3U1MkuZlbMZC0VtYYDzpXBxpTaRyRQ&hl=en&sa=X&ved=2ahUKEwjsltnCx5rxAhVJwKQKHU5RCkQQ6AEwEnoECBEQAw#v=onepage&q=Chen%20Gong%20poem%20shi%20jing&f=false
Yi Xi:
Nothing of note.
Zhen Lu:
Nothing of note.
Feng Nian:
The Economic History of Remote Antiquity Period and The Three Dynasties
https://books.google.co.uk/books?id=7NaJDwAAQBAJ&pg=PT164&lpg=PT164&dq=Feng+Nian+poem&source=bl&ots=Ig3IHI9Jdv&sig=ACfU3U0iyFcFYIZMHGYJaBK4DuJTS1psDw&hl=en&sa=X&ved=2ahUKEwj31ujnyJrxAhXGzqQKHWKtDzMQ6AEwEXoECBEQAw#v=onepage&q=Feng%20Nian%20poem&f=false
The Classic of Changes in Cultural Context
https://books.google.co.uk/books?id=oJjumAkVfM8C&pg=PT223&lpg=PT223&dq=Feng+Nian+poem&source=bl&ots=otGiejl1DK&sig=ACfU3U3336eB6stiyKk5z7-jTWcfkD99gw&hl=en&sa=X&ved=2ahUKEwj31ujnyJrxAhXGzqQKHWKtDzMQ6AEwEnoECBIQAw#v=onepage&q=Feng%20Nian%20poem&f=false
Change in Shijing Exegesis: Some Notes on the Rediscovery of the Musical Aspect of the "Odes" in the Song Period
https://www.jstor.org/stable/4528599
The Homeric Epicsand the ChineseBook of Songs
https://scholar.princeton.edu/sites/default/files/mkern/files/the_formation_of_the_classic_of_poetry_0.pdf
"Almost all “Eulogies of Zhou” are very short: of the thirty-one poems, eight have between 18 and 30 characters; nine between 31 and 40;four between 41 and 50; six between 51 and 60; and only the remaining four hymns have 62, 64, 92, and 124 characters. It is not certainthat, originally, these poems existed as discrete, self-contained textualunits: first, in the Zuo Tradition account quoted above, the eulogiesrelated to King Wu’s conquest form a single unit of several sections orstanzas (zhang) while in the Mao Poetry, they are divided into individual poems with separate titles.18 Second, a hymn of just 18 words,accompanied by music and dance, was probably not considered (orperformed as) a text of its own. Third, some “Eulogies of Zhou” areclosely interrelated: they share entire lines or even couplets with oneanother but not with other poems, marking them as a single larger unitof text.19 Thus, of the thirty components of characters of “Year ofAbundance” (Mao 279 “Feng nian”), sixteen are verbatim identical toverses in “Clear Away the Grass” (Mao 290 “Zai shan”). At the sametime, “Clear Away the Grass” also shares three more lines with “GoodPloughs” (Mao 291 “Liang si”), and additional individual lines withfour other neighboring texts.20 One may, thus, think of the texts of the“Eulogies of Zhou” not as individually authored texts but as variationsof material taken from a shared poetic repertoire. This repertoire waslargely confined to the “Eulogies” themselves (from which later court hymns then borrowed the occasional line), operating within the formaland semantic constraints of ritual utterances. In the performance of theancestral sacrifice, they represented configurations of what Jan Assmann calls “identity-securing knowledge” that is “usually performed inthe form of a multi-media staging which embeds the linguistic textundetachably in voice, body, miming, gesture, dance, rhythm, andritual act … By the regularity of their recurrence, feasts and rites grantthe imparting and transmission of identity-securing knowledge andhence the reproduction of cultural identity.” 21 Not surprisingly, the“Eulogies” are only one arena where this repertoire of memory of theZhou foundational narrative becomes realized and staged in varioustextual forms; another place is the sequence of several “harangues” (shi)in the Classic of Documents where King Wu’s conquest is recalled invarious speeches attributed to him, with the king staged as speaker.22 "You Gu:
Before Confucius: Studies in the Creation of the Chinese Classics
https://books.google.co.uk/books?id=JFH-w1HwoycC&pg=PA261&lpg=PA261&dq=You+Gu+poem+shi+jing&source=bl&ots=o4Wvd6ydr4&sig=ACfU3U3ghO_ovZkTQeYa_UJr02rjZHwoVQ&hl=en&sa=X&ved=2ahUKEwiW2IW9yprxAhVD6qQKHbqhBT0Q6AEwEHoECBMQAw#v=onepage&q=You%20Gu%20poem%20shi%20jing&f=false
Qian:
Nothing of note.
Yong:
Nothing of note.
Zai Jian:
The Beginning of Literati Poetry: Four Poems from First-century BCE China
https://www.jstor.org/stable/41354685
Declarations of the Perfected, PART ONE
https://books.google.co.uk/books?id=mGasBQAAQBAJ&pg=PA161&lpg=PA161&dq=Zai+Jian+poem+shi+jing&source=bl&ots=uQLGFahp-t&sig=ACfU3U1cOT21G07bbBkOFiquh6t2wX0KsQ&hl=en&sa=X&ved=2ahUKEwjPwODQy5rxAhUymVwKHaBWAmYQ6AEwEnoECBEQAw#v=onepage&q=Zai%20Jian%20poem%20shi%20jing&f=false
You Ke:
Nothing of note.
Wu:
Nothing of note.