Nanxun Ge

This piece, attributed to the famous filial Emperor Shun (or Yu Shun, said to have lived 2317-2208 BC), uses only strings one to five. This follows on the ancient story, as found in the Records of the Grand Historian and quoted in the preface below, that Emperor Shun played a five string qin.⁴ According to this tradition, the sixth and seventh strings were added by Wen Wang and Wu Wang.

Many early handbooks have one or two such five-string melodies,⁵ and at least 19 up to 1840 had one titled either Nan Xun Ge (as here), Nan Feng Ge (Song of Southern Winds) or Nanfeng Chang (Rhapsody of Southern Winds).⁶ All three titles relate to the same story, but there are several different melodies used.

As for the present melody, for example, it seems to survive in print only here and in 1571, when Longhu Qinpu published it as Nan Xun; the two have almost identical lyrics and closely related melodies.⁷

Comforting southern breezes are by tradition contrasted with those of the north, which are killing and those of the west, which bring war; those of the east are nourishing. Many poems mention this, including one by the famous Tang poet Wang Wei. The lyrics here quote from some of these.⁸

Zheyin Shizi Qinpu preface ⁹

The Beyond-Sounds Immortal says

as for this melody, it originated with Yu Shun and later people added to it. The Royal Ancestor's Handbook doesn't have this melody. According to what the Records of the Grand Historian says,

"Shun Played a five-string qin, sang a poem of the Southern Breezes, and all under heaven was regulated. "

A poem (Nanfeng Ge in Kongzi Jiayu),¹⁰ says,

"Winds from the south are temperate breezes,
They can be used to resolve my people's irritations.
Winds from the south are timely,
They can be used to make abundant my people's wealth."

Ah! This was a great society!

Music
Timings follow the recording on my CD; 聽錄音 listen with my transcription.
Six titled sections, lyrics throughout.¹¹

00.00 1. The southern (breezes) arrive in accord with the natural seasonal rhythm
00.00 2. Refreshing (breezes) come to the palace halls
01.34 3. (Everything on) heaven and earth (enjoys) virtue and grace
02.00 4. The common people can carry on their natural life cycles
02.24 5. Great prosperity resolves indignancies
02.46 6. (Shun) copies the old (style of Yao), making it current in his own day
03.17 Closing harmonics
03.41 End

Original section titles and lyrics
The Chinese section titles and lyrics are as follows (punctuation, from Zha Guide, does not always align with my understanding of the musical phrases). The pairing of words and music follows quite closely the standard pairing formula; in this regard, note that the filler words "的那" and "你那" are generally not translated.

應候南來 The southern (breezes) arrive in accord with the natural seasonal rhythm
濃陰轉綠槐，薰風拂拂，
Nóng yīn zhuǎn lǜ huái, xūn fēng fú fú,
Dense shade turns the locust trees green; the southern breeze blows gently.
一味南來。
Yī wèi nán lái.
All of it flows from the south.
清和遍滿你那天垓，
Qīng hé biàn mǎn nǐ nèi tiān gāi,
Pure harmony fills all beneath heaven.
煩襟於以消滌；
Fán jīn yú yǐ xiāo dí;
It washes away the weariness of the heart and mind.
飄飄解溫，於以阜財。
Piāo piāo jiě wēn, yú yǐ fù cái.
Drifting and cool, it dispels heat and brings abundant wealth.
化成你那天下，重名麗，正三台。
Huà chéng nǐ nèi tiān xià, chóng míng lì, zhèng sān tái.
Transformative virtue shapes the realm: illustrious and beautiful, as if aligned with the stars of the Three Terraces.
葛衣涼，輕透襟懷，贏得好懷開。
Gé yī liáng, qīng tòu jīn huái, yíng dé hǎo huái kāi.
Clothed in cooling hemp, the breeze lightly enters the bosom, winning joyful hearts and open minds.
涼生殿閣 Refreshing (breezes) come to the palace halls
好風狂，麒麟殿閣生微涼，
Hǎo fēng kuáng, Qílín diàn gé shēng wēi liáng,
A fine wind stirs wildly — in the unicorn-adorned palace halls coolness arises.
天廷引送御爐香，民物都眙蕩，
Tiān tíng yǐn sòng yù lú xiāng, mín wù dōu yí dàng,
From the heavenly court, imperial incense is wafted forth; all people and things feel its gentle stirring.
北窓髙臥，嘆傲你那羲皇。
Běi chuāng gāo wò, tàn ào nǐ nà Xī Huáng.
Lying in repose up by the northern window, I sigh with proud admiration of Fuxi.
仁恩溥博，化日舒長，淸微也遍萬方，薦幽涼。
Rén ēn pǔ bó, huà rì shū zhǎng, qīng wēi yě biàn wàn fāng, jiàn yōu liáng.
Benevolence is vast and widespread; civilizing light extends gently and far, and subtle clarity reaches the ten thousand lands, offering tranquil coolness.
斜穿窓，輕入戶，夢回簷馬的那叮噹。
Xié chuān chuāng, qīng rù hù, mèng huí yán mǎ de nà dīng dāng.
Slanting through windows, lightly entering doors, it returns in dreams as the tinkling of eaves-bells.
悠悠君臣，千載際遇際遇，際遇明良。
Yōu yōu jūn chén, qiān zǎi jì yù jì yù, jì yù míng liáng.
Long-lasting is the bond of ruler and minister; encounter upon encounter through the ages, a meeting of clarity and virtue.
禮樂振那綱常，百揆共那五典，
Lǐ yuè zhèn nà gāng cháng, bǎi kuí gòng nà wǔ diǎn,
Rites and music uphold the moral order; the hundred ministers govern in accord with the Five Canons.
皇風淸穆，的那五弦琴一張。
Huáng fēng qīng mù, de nà wǔ xián qín yī zhāng.
The imperial virtue is pure and solemn — like the clear tones of a five-string qin.
天地仁恩 (Everything on) heaven and earth (enjoys) virtue and grace
動皇風，沖沖造化爭奇功。
Dòng huáng fēng, chōng chōng zào huà zhēng qí gōng.
The imperial wind is set in motion; creation itself surges forth to contend in wondrous achievement.
欣欣草木盡敷榮，仁恩一視同。
Xīn xīn cǎo mù jǐn fū róng, rén ēn yī shì tóng.
All plants and trees thrive luxuriantly; Heaven’s kindness sees all with equal eyes.
四夷比屋，
Sì yí bǐ wū,
The four outer tribes dwell peacefully, house beside house,
都歸在你那太和中。
Dōu guī zài nǐ nà tài hé zhōng.
All return and are within the realm of Supreme Harmony.
南薰一曲，輕調絲桐。
Nán xūn yī qǔ, qīng diào sī tóng.
One tune of the Southern Breeze — softly played upon silk and paulownia.
黎民化育 The common people can carry on their natural life cycles
放驩兜，流共工，殛鯀的那竄三苗，
Fàng Huān Dōu, liú Gòng Gōng, jí Gǔn de nà cuàn Sān Miáo,
Huan Dou was banished, Gong Gong was exiled, Gun was executed, and the rebellious Sanmiao were driven out.
(Note: This line references mythical rebels punished by ancient sage-kings for disrupting what was considered the cosmic and social order.]
成世的那清朝，
Chéng shì de nà Qīng cháo,
Thus was established an age of clarity and order.
雨順風調。南薰一味飄飄，
Yǔ shùn fēng tiáo. Nán xūn yī wèi piāo piāo,
Rain falls in season, wind flows in harmony; a breath of Southern Breeze drifts gently.
三尺的那瑤琴輕調，輕調，輕調。
Sān chǐ de nà yáo qín qīng diào, qīng diào, qīng diào.
A three-foot jade-encrusted qin is softly played, softly played.
阜財解慍 Great prosperity resolves indignancies (泛音 in harmonics)
南來之風和煦兮，
Nán lái zhī fēng hé xù xī,
The wind that comes from the south is warm and gentle,
以解吾民之慍兮。
Yǐ jiě wú mín zhī yùn xī.
And it dissolves the anger of my people.
虞廷噫兮，舜殿噫兮。
Yú tíng yī xī, Shùn diàn yī xī.
Ah, the court of Yu; ah, the palace of Shun.
南來之風時兮， Nán lái zhī fēng shí xī,
The southern wind arrives in due season,
阜吾民之財兮。
Fù wú mín zhī cái xī.
Bringing abundance to the wealth of the people.
準古歸今 (Shun) copies the old (style of Yao), making it current in his own day
景星慶雲，臣和君唱。
Jǐng xīng qìng yún, chén hé jūn chàng.
Auspicious stars and celebratory clouds appear; minister and sovereign sing in harmony.
大哉兮，帝堯兮，
Dà zāi xī, Dì Yáo xī,
How great you are, O Emperor Yao!
民無能名，擬之天蕩蕩。
Mín wú néng míng, nǐ zhī tiān dàng dàng.
The people cannot name your virtue; it is as vast and boundless as Heaven.
德洽你那民心，
Dé qià nǐ nà mín xīn,
Your virtue fully reaches the people’s hearts,
歸今準古，覆載的那民心相尙，
Guī jīn zhǔn gǔ, fù zài de nà mín xīn xiāng shàng,
Returning to the present and measuring by the ancients. Earth and sky nurture the people whose hearts esteem virtue.
(泛音 harmonic closing)
歸今準古心相尙。
Guī jīn zhǔn gǔ xīn xiāng shàng.
Returning to the present and guided by the ancient, the hearts of the people uphold the same values.
保民如傷，保民如傷，
Bǎo mín rú shāng, bǎo mín rú shāng,
Protecting the people as though wounded oneself, protecting them as though wounded oneself.
要知萬古歌謠，聖明天子在上。
Yào zhī wàn gǔ gē yáo, shèng míng tiān zǐ zài shàng.
Know that the songs of ten thousand ages proclaim this: the sagely and enlightened Son of Heaven reigns above.

As can be seen from comments at the bottom of this .pdf file, copied from Zha Guide [713] 189, the three other handbooks with this title all have lyrics as in the melodically unrelated Nanfeng Ge of 1511. It says, specifically, that the first (dated 1585) are the same as those of the Nanfeng Ge of 1511, while the other two are the same as those in the 1585.
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Footnotes (Shorthand references are explained on a separate page)

1. References for Song of Southern Breezes (南薰歌 Nan Xun Ge; compare 南風 Nan Feng)
Regarding "breezes", 33051. 薰 Xun says "plant name" but then includes all the meanings of 熏 xun: fragrant, envelope in smoke, 風至貌 appearance of wind, warm, etc. Then 33051.20 薰風 says 和風也，一作熏風, quoting 史記，五帝紀 Shi Ji's "南風之薰兮...." If 薰風 is the same as 和風 gentle wind, then 南薰 can be translated as "southern breezes", in contrast to 南風 "southern winds". (南熏 2798.xxx.)

2798.750 南薰 gives no definition for 薰 xun, saying only that Nan Xun is a 詩歌名 poetic song name, then giveng several poetic references. Further details are also given in the introduction to Nanfeng Ge, which quotes lyrics published in 樂府詩集 Yuefu Shiji.)
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2. Tuning and mode
Only the first five strings are used. Standard tuning is also considered as 5 6 1 2 3 (5 6). For information about zhi mode see Shenpin Zhi Yi. For modes in general see Modality in Early Ming Qin Tablature.
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3. Emperor Shun statue in Yuncheng
See Cangwu scenery and Yuncheng closeup.
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4. Nan Feng Ge in Shi Ji
The full original passage connected to Nan Feng Ge, from Chapter 24 (樂書 Music Annals) of the Shi Ji (史記 Records of the Grand Historian), is quoted below. (See also 262.783; neither quote is precisely as here.) Nan Feng Ge in Taigu Yiyin does not have this passage, though an extract is quoted in the Yuefu Shiji introduction to its Nan Feng Ge lyrics. The attitude conveyed by the Shi Ji is that during orderly times people are happy and music is appropriate to them.

凡音由於人心，天之與人有以相通。如景之象形，響之應聲。故為喜者天報之以福，為惡者天與之以殃。其自然者也。
All sounds originate in the human heart and there is a resonance between the sounds of heaven and humanity; (the relationship is) like that of a shadow to its solid form, or an echo to the original sound. Thus when one acts with joy (aligned with goodness) heaven rewards people with wealth, but when one acts with evil heaven gives them calamity. This is the natural order.

故舜彈五絃之琴，歌南風之詩，而天下治。
Thus, when Shun played the five string qin and sang the lyrics of Southern Breezes, the world was orderly.

紂為朝歌北鄙之音，身死國亡。舜之道何弘也？紂之道何隘也？
(By contrast, when it came to) Zhou (紂辛 Zhou Xin, last emperor of the Shang dynasty), he brought in to service the coarse music from (his capital) Zhaoge’s northern frontier, and so he died and his state perished. How expansive was the Way of Shun! How narrow was the Way of Zhou!

夫南風之詩者生長之音也，舜樂好之，樂與天地同意，得萬國之驩心，故天下治也。 The “South Wind” song is a music of growth and vitality. Shun found joy in it; his joy resonated with Heaven and Earth, and so he won the hearts of the people of all states, and thus the world was well governed.

夫朝歌者不時也，北者敗也，鄙者陋也。紂樂好之，與萬國殊心。諸侯不附，百性不親，天下畔之。故身死國亡。
As for (the music of) Zhaoge, it was completely inappropriate, its northern tone signifying defeat, and its rustic nature being coarse and vulgar. Zhou found joy in it; his joy was at odds with the hearts of all under Heaven. The feudal lords did not support him, the common people did not feel close to him, and all under Heaven turned against him. Thus he died and his state fell.

The Shi Ji passage then illustrates this with a story involving Shi Kuang.
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5. Qin melodies using only five strings
There is a list of these here.
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6. Melodies on a southern breeze or wind
The Zha Guide entries are:

南薰歌 Nan Xun Ge
南風歌 Nan Feng Ge
南風暢; Nan Feng Chang

These are analyzed in a footnote to Nan Feng Ge. Note that the Chinese does not indicate singular or plural.
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7. Tracing Nanxun Ge (tracing chart)
The Zha Guide 11/113/189 lists four entries entitled 南薰歌 Nan Xun Ge; to this must be added the version from Longhu Qinpu (1571), not included in the Guide. Of these five only >1505 and 1571 are versions of the present melody; the others are all related to the Nan Feng Ge of 1511.

Although the preface in 龍湖琴譜 Longhu Qinpu is shorter, its six titled sections are the same as >1505, its lyrics almost identical and its tablature very close. It was thus most likely either edited from the earlier handbook or the two were taken from a similar source. Longhu Qinpu itself was preserved in Taiwan and so not available to Zha Fuxi when he did his Guide. In order to publish it in his 琴府 Qin Fu Tong Kin-Woon handcopied it from a library there.
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8. Lyrics
See below. I have not yet traced the source of many of these Zheyin Shizi Qinpu lyrics.
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9. Original preface
For the original Chinese text of the preface see 南薰歌.
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10. 孔子家語 Kongzi Jiayu
This is a post-Han collection of stories. The four lines (two doubled lines) of the poem are very similar to the last four lines of the Yuefu Shiji lyrics as found at the end of Nan Feng Ge.
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Appendix: Chart Tracing 南薰歌 Nan Xun Ge
Further comment above; based mainly on Zha Fuxi's Guide 11/113/189 and 12/125/235.

琴譜
(year; QQJC Vol/page) Further information
(QQJC = 琴曲集成 Qinqu Jicheng; QF = 琴府 Qin Fu)

1. 浙音釋字琴譜
(>1505; I/206 [further]) 6; 徵 zhi mode; standard tuning but only five strings; preface; section titles; lyrics

2. 龍湖琴譜
(1571; 琴府/280) 6; 徵 zhi mode; 5 strings; 南薰 Nan Xun. Preface shorter but its six section titles same as in >1505; lyrics almost identical and tablature very close.

For other melodies on this theme see under Nan Feng Ge

Return to the Zheyin Shizi Qinpu index or to the Guqin ToC.

琴譜 (year; QQJC Vol/page)	Further information (QQJC = 琴曲集成 Qinqu Jicheng; QF = 琴府 Qin Fu)
1. 浙音釋字琴譜 (>1505; I/206 [further])	6; 徵 zhi mode; standard tuning but only five strings; preface; section titles; lyrics
2. 龍湖琴譜 (1571; 琴府/280)	6; 徵 zhi mode; 5 strings; 南薰 Nan Xun. Preface shorter but its six section titles same as in >1505; lyrics almost identical and tablature very close.
	For other melodies on this theme see under Nan Feng Ge