(This folio has 66 entries [but none from Shanhai Jing]. The earliest, in particular, usually mention qin se together. Now we know of the qin as a seven-string [by convention formerly five-string] zither with one fixed bridge, and the se as a 26 string zither with movable bridges. Because the translations cited here refer to qin and se in a variety of ways, I revert to the original qin and se. But because so many of the earliest writings mention them exclusively as a pair, and to the exclusion of other instrument names, perhaps in some cases this should be "qin se", meaning simply "stringed instruments" or zithers. )

1. 尚書 Shang Shu: Venerated Documents (V.344)
   Also called 書經 Shu Jing (Book of Documents), it is the earliest compilation of historical documents, one of three documents said the date from Western Zhou (12th - 6th c. BCE). The other two are the 易經 Yi Jing, which does not mention the qin, and the Book of Songs (see #3 below). About half of the existing Shang Shu is said to be a forgery from about the 4th c. CE. I don't know if this short excerpt is from that part. The first English translation of Shang Shu was James Legge, The Chinese Classics, Vol.III. The Shoo King (bi-lingual; SMC Taipei reprint). The passage below (ibid., p.87) is followed (ibid., p.88) by the passage (later used as a qin melody title), "When the nine parts of the service according to the emperor's arrangements have all been performed the male and female phoenix come with their measured gambollings into the court." (簫韶九成，鳳凰來儀 Xiaoshao Jiucheng, Fenghuang Lai Yi).
   （夔曰﹕戛擊鳴球）傅拊琴瑟，以詠，祖考來格。 （益稷 Yi Ji)
   (Kui said, When the sounding-stone is tapped or strongly struck); when the qin and se are swept or gently touched; to accompany the singing, the imperial progenitors come to the service.
   (Legge, The Chinese Classics, Vol.III. The Shoo King [bi-lingual], p.87.)

2. 尚書大傳 Shang Shu Da Zhuan: Major Tradition of the Venerated Documents (V.344)
   7654.71 a book existing only in fragments; compiled by 伏勝 (or 伏生) Fu Sheng (former Han).
   It is quoted in YFSJ. Here, one short reference:
   大琴練絃
   Great qin with plain (uncolored) strings.

3. 毛詩 Mao edition of the Book of Songs (詩經 Shi Jing; V.344)

   (This is every poem that mentions the qin; all but the last also mention the se; in addition, three poems mention the se without the qin: #115, #126 and #161)

   •     1. 關雎 Cry of the Ospreys: 窈窕淑女，琴瑟友之。 ("with qin se be friendly to her")
   •   50. 定之方中 Ding Star in the Center of the Sky: 椅桐梓漆，爰伐琴瑟。 ("to make qin se")
   •   82. 女曰雞鳴: A Woman Says the Cock has Crowed: 琴瑟在御，摩不靜好。 ("place your qin se in front of you")
   • 161. 魯鳴 The Deer's Call: 我有嘉賓，鼓瑟鼓琴。鼓瑟鼓琴，和樂且湛。 ("play qin play se" [written twice])
   • 164. 常（常棣） Cherry Tree: 妻子好合，如鼓瑟琴。 ("husband and wife in harmony, as if playing se qin"; compare qin se heming")
   • 208. 鼓鐘 Drums and Bells: 鼓瑟鼓琴，笙磬同音。 ("play se play qin")
   • 211. 甫田 Large Field: 琴瑟擊鼓，以御田祖。 ("qin se beating and drumming")
   • 218. 車舝 Coach Axle-pin (QSCM mistakenly has #217. 頗升)﹕ 四牧騑騑，六轡如琴。
             ("My four steeds prance, the six reins are like zither strings")

4. 禮記 Li Ji: Book of Rites (compare related titles;² V.344)
   At front, three sub-headings, 既祥彈琴, 除喪彈琴 and 五絃南風; the actual selections are as follows (references are to online original text and Legge translation, here edited):
   • 曲禮 Qu Li (Summary of the Rules of Propriety, or Minute Rules of Decorum): three quotes, all qin se)
     1. (31) 先生書策琴瑟在前坐而遷之戒勿越。
        If any writing or tablets of his master, or his qin or se be in the way, he should kneel down and remove them,
     2. (55) 父母有疾，冠者不櫛，行不翔，言不惰，琴瑟不御。
        When his father or mother is ill, (a young man) who has been capped should not use his comb, nor walk with his elbows stuck out, nor speak on idle topics, nor take his qin or se in hand.
     3. (94)（君無故，玉不去身；大夫無故不徹縣，）士無故不徹琴瑟 (also written: 士無故不撤琴瑟)
        (Without some [sad] cause, a ruler will not let the gems [pendent from his girdle] leave his person, nor a Great officer remove his music-stand); and a gentleman (lower official?) will not part from his qin or se.
   • 檀弓 Tan Gong (three passages, two have Confucius play qin without making sounds)
     1. (24) 孔子既祥，五日彈琴而不成聲，（十日而成笙歌）。
        Confucius, after the service at the close of the one year's mourning, in five days more (began to) handle his qin, but brought no perfect sounds from it; in ten days he played on the sheng (mouth organ) and sang to it.
     2. (41) 顏淵之喪，饋祥肉，孔子出（而）受之，入，彈琴而後食之。
        At the mourning rites for Yan Yuan, some of the flesh of the sacrifice at the end of (? two) years was sent to Confucius, who went out and received it, On re-entering he played on his qin, and afterwards ate it.
     3. (52) 子夏既除喪而見，予之琴，和之不和，彈之而不成聲。作而曰：“哀未忘也。先王制禮，而弗敢過也。”子張既除喪而見，予之琴，和之而和，彈之而成聲，作而曰﹕“先王制禮不敢不至焉。”
        When Zixia was introduced (to the Master) after he had put off the mourning (for his parents), a was given to him. He tried to tune it, but could hardly do so; he touched it, but brought no melody from it. He rose up and said, 'I have not yet forgotten my grief. The ancient kings framed the rules of ceremony, and I dare not go beyond them?' When a qin was given to Zizhang in the same circumstances, he tried to tune it, and easily did so; he touched it, and brought melody from it. He rose up and said, 'The ancient kings framed the rules of ceremony, and I do not dare not to come up to them.'
   • 禮運 Li Yun (Evolution of Rites)
     • (5) 陳其犧牲，備其鼎俎，列其琴瑟(qin se)管磬鐘鼓，修其祝嘏，以降上神（與其先祖）。
       The victims (also) are displayed, and the tripods and stands are prepared. The qins and ses are put in their places, with the flutes, sonorous stones, bells, and drums. The prayers (of the principal in the sacrifice to the spirits) and the benedictions (of the representatives of the departed) are carefully framed. The object of all the ceremonies is to bring down the spirits from above, (even their ancestors).
   • 明堂（位） Ming Tang (Wei)
     • (18)（土鼓蕢桴葦龠，伊耆氏之樂也。）拊搏玉磬揩擊，大琴大瑟，中琴小瑟，四代之樂器也。
       (They had the earthen drum, with clods for the drumstick and the reed pipe, producing the music of Yizhi); the pillow-like bundles of chaff, which were struck; the sounding stone of jade; the instruments rubbed or struck, (to regulate the commencement and close of the music); the great qin and great se; the medium qin and little ses: the musical instruments of the four dynasties. (Not clear why Legge pluralized the last "se".)
   • 少儀 Shao Yi
     • (8) 笏、書、修、苞苴、弓、茵、席、枕、几、穎、杖、琴、瑟、戈有刃者櫝、策、龠，其執之皆尚左手。
       Official tablets; writings; stalks of dried flesh; parcels wrapped in reeds; bows; cushions; mats; pillows; stools; spikes; staffs; zithers, large and small (qin, se); sharp-edged lances in sheaths; divining stalks; and flutes - these all were borne with the left hand upwards.
   • 學記 Xue Ji Records of Education
     • (8) 不學操縵不能安絃。
       If a student do not learn (at college) to play in tune (caoman: "adjust the strings"), he cannot quietly enjoy his qin ("determine how to play the strings").
   • 樂記 Yue Ji (Records of Music; see online text)
     1. (4) 宮為君，商為臣，角為民，徵為事，羽為物。五者不亂，則無怗懘之音矣。 ³
        (The note) gong represents the ruler; shang, the ministers; jiao, the people; zhi, affairs; and yu, things. If there be no disorder or irregularity in these five notes, there will be no want of harmony in the state.
     2. (21) 昔者，舜作五弦之琴以歌南風，夔始制樂以賞諸侯....
        (31)（然後發以聲音，）而文以琴瑟。
        (My translation:) Formerly Shun made a five-string qin so he could sing Nan Feng Ge. Kui first made music to reward the feudal lords....
        (Then he expressed himself in chant,) refining the sounds with those of the qin and se
     3. (42) 絲聲哀，哀以立廉，廉以立志。君子聽琴瑟之聲則思志義之臣。
        (My translation:) Sounds of silk are doleful, leading to purity and hence loyalty. When a leader hears the sounds of qin and se he thinks of assistants determined to be righteous.
   • （喪）大記 (Sang) Da Ji (Great Records)
     • (1)（疾病，外內皆掃。）君大夫徹縣，士去琴瑟。
       (When the illness was extreme, all about the establishment was swept clean, inside and out.) In the case of a ruler or Great officer, the stands, with the martial instruments suspended from them, were removed; gentlemen (lower ranking officials?) put aside their qin and se.

5. 周禮 Zhou Li: Rites of Zhou (V.344/5)
   Zhou Li outlines the supposed structure of the state of Zhou
   (until 劉歆 Liu Xin, 46 BCE - 23 CE, Zhou Li was called 周官 Zhou Guan)
   (See 天官冢宰 Tianguan zhonggong; bracketed text added from 102)....孤竹之管，云和之琴瑟，（《云門》之舞；）冬日至，於地上之圜丘奏之，（若樂六變，則天神皆降，可得而禮矣。凡樂，函鐘為宮，大蔟為角，姑洗為徵，南呂為羽，靈鼓靈鼗，）孫竹之管，空桑之琴瑟，（《咸池》之舞；）夏日至，於澤中之方丘奏之，（若樂八變，則地示皆出，可得而禮矣。凡樂，黃鐘為宮，大呂為角，大蔟為徵，應鐘為羽，路鼓路鼗，）陰竹之管，龍門之琴瑟，《九德》之歌，《九韶》之舞；於宗廟之中奏之，

6. 左傳 Zuo Zhuan Zuo's Commentary (on the Spring and Autumn Annals; V.345)
   Attrib. 左丘明 Zuo Qiuming aka Zuoqiu Ming, 5th c. BCE;
   Seven selections; translation: Legge, The Chinese Classics, Vol. V. The Chun Ts'ew with the Tso Chuen).
   • 襄公二年 Duke Xiang (of 魯 Lu), 2nd year (570 BCE; Legge, pp. 415 and 416, Par. 3);
     The duke's mother 穆姜 Mu Jiang dies, a 櫬 coffin is made of 檟 evergreen,
     and she is given a 頌琴 type of qin (for burial)
   • 襄公十四年 Duke Xiang, 14th year (Legge, pp. 461 and 465, Par. 4);
     Shi Cao teaches the qin to a concubine
   • 襄公二十四年 Duke Xiang 24th year (Legge, pp. 506 and 508, Par. 9);
     Zhang Ge and Fu Li play the qin on a cart
   • 襄公二十九年 Duke Xiang 29th year (Legge, pp. 546 and 550, near end);
     Sun Linfu never again listens to the qin
   • 昭公元年 Duke Zhao, 1st year (540 BCE; Legge, pp. 573 and 580, Par. 10/2d);
     The superior man approaches the qin and se not just for pleasure, but "to illustrate his observance of rules"
   • 昭公二十年 Duke Zhao, 20th year (Legge, pp. 679 and 684, Par. 5/3d);
     If a qin could play only one note, who would listen?
   • 成公九年 Duke Cheng, 9th year (581 BCE; Legge, pp. 369 and 371, Par. 8; annotated);
     Zhong Yi's qin play shows him to be a gentleman.

7. 國語 Guo Yu: Discourses of the States (V.345)
   Attrib. 左丘明 Zuo Qiuming or Zuoqiu Ming (see #6 above; perhaps it was connected to the Zuo Zhuan); compiled later Wei Zhao, 204 -273?).
   琴瑟尚官 (qin se)

8. 史記 Shi Ji: Records of the Grand Historian (V.345/7)
   Six selections excerpted from the following annals (ZHSJ = Zhonghua Shuju edition)
   • Annal 24   樂書 Book of Music (ZHSJ p.1235); translated with Nan Xun Ge and by Van Gulik (see Shi Kuang)
   • Annal 47   孔子世家 Hereditary House of Confucius; translated with the biography of his teacher, Shi Xiangzi
   • Annal 43   趙世家 Hereditary House of Zhao; translated with the biography of Meng Yao
   • Annal 37   衛世家 Hereditary House of Wei; see biography of Shi Cao
   • Annal 32   齊世家 Hereditary House of Qi; see biography of Zou Jizi
   • Annal 103 萬石君傳 Biography of Lord Wanshi: the sister of 石奮 Shi Fen played the qin (RGH I/477)

9. 十二國史 Shi'er Guo Shi: Histories of the 12 States (V.347)
   2741.99: 12 states of the Warring States period (nothing about a book). Five selections:
   • 齊景公夜請晏子之家，欲與飲酒。晏子整衣冠立於門曰﹕諸侯有故乎？大夫作亂乎？君何為非時而辱之。公曰﹕酒淆絲竹願與大夫共之。晏子曰....
     (Liang Qiuju [梁丘據?] plays the qin)
   • 孔子見宋人榮啟期年老白首體無完衣而鼓琴自樂。孔子問曰....
     Rong Qiqi plays the qin
   • 秦昭王命趙王會於澠池。趙王難秦欲不行。藺相如l廉頗等諫曰....
     Lin Xiangru hears the King Huiwen of Zhao play the qin
   • 趙王正鼓琴遣使之，楚誡之曰﹕至楚之時必如吾言使者....
     Huiwen, King of Zhao, plays the qin
   • 文侯與群臣讌會。詩經鼓琴，文侯樂酒起舞。師經乃以琴撞文侯。大怒....
     Once when Shi Jing played the qin everyone danced, so he tried to strike them with the qin.

10. 吳越春秋 Wu Yue Chunqiu: Annals of Wu and Yue (V.348)
    Fictionalized version of struggle between Wu and Yue, originally attrib. to 趙曄 Zhao Ye, ca. 1st c. CE; compiled later
    One passage, after Yue defeats Wu

11. 西漢書 History of the Western Han (V.348)
    
    相如鳳歌 Phoenix Song of (Sima) Xiangru

12. 十六國春秋 Annals of the 16 Kingdoms (V.348)
    2741.250 Book in 100 folios originally by 魏崔鴻 Cui Hong (d. 525; Bio/2164)
    趙整鼓歌 Zhao Zheng plays and sings (a different version is in Qin Shi Bu, #53)

13. 家語 Jiayu (孔子家語 Household Tales of Confucius; V.348/9)
    Compiled by 王肅 Wang Su (195 - 256); six selections from four books
    • 陳其犧牲，備其鼎(爻且)，列其琴瑟，管磬鐘鼓，以降其上神。
    • Confucius and Zixia
    • Concerns Zengzi
    • Zilu plays qin
    • Again Zilu
    • 孫林父 Sun Linfu again.

14. 孟子 Mengzi (V.349)
    Two selections
    • From 萬章上 Wan Zhang, A: Shun plays the qin after his parents try to incinerate him.
    • From 盡心下 Jin Xin, B: Shun plays qin while the two daughters of Yao attend to him

15. 列子 Liezi (V.349/50)
    Four selections
    • Rong Qiqi plays qin and speaks of his simple pleasures.
    • Yan Hui plays the qin to cheer up Confucius
    • When Hu Ba plays the qin birds dance and fish frolic, so Shi Wen goes to study qin with Shi Xiang
    • Bo Ya plays the qin and Ziqi listens

16. 文子 Wenzi (V.350)
    13766.8/2 Book in two folios said to date from time of Confucius
    From 自然 Zi Ran: as with Liezi above, it concerns Shi Wen

17. 莊子 Zhuangzi (V.350/1)
    Six selections
    • Chapter 2 齊物論: the qin play of 昭文 Zhao Wen (14172.3xxx) reaches perfection (with percussion?)
    • Chapter 6 大宗師: playing the qin at the funeral of 子喪戶 Sang Hu
    • Chapter 6 大宗師: Ziyu hears Zisang play the qin
    • Chapter ? 遜王: Concerns Confucius and Yan Hui; I can't find this chapter or either of these two stories
    • Chapter ? 遜王: Same; though in difficulty, Confucius plays qin calmly
    • Chapter 31 漁父: Confucius, while playing qin and singing at the Xing Tan is confronted by a fisherman

18. 呂氏春秋 Lüshi Chunqiu (V.352)
    Translated in Knoblock and Riegel, The Annals of Lü Buwei, pp.134 and 146
    • 仲夏紀 (5/1.2; this passage mentions qin se, but is actually not included here)
    • 古樂 (5/5.2; this title is not given; the passage says 士達 Knight Da (i.e., 炎帝 Yan Di) invented the 5-string qin

19. 桓譚，新論 Huan Tan, Xin Lun (New Discourses; V.352)
    See also #35: both are subtitled 雍門鼓琴 Yongmen plays qin, but Yongmen himself is mentioned only in #35)
    After saying Shen Nong created a five string qin it includes a variety of early ideas about the qin

20. 世本 Shi Ben: Basics of Hereditary Lines (V.352)
    By Liu Xiang (? see also #33 and #34 below); mostly lost (see also YFSJ).
    神農作琴。又曰琴長七尺二寸。
    Shen Nong made a qin. It is also said the qin was 7 ft. 2 in. long.

21. 帝王世紀 Di Wang Shiji: Record of the Lives of Emperors and Kings (V.352)
    9064.17 A book in one folio compiled by 皇甫謐 Huangfu Mi (215 - 282), apparently from earlier sources
    Shen Nong (Yan Di) made a five string qin....

22. 琴始錄 Qin Shi Lu: Record of the Beginnings of the Qin (V.352)
    21570.xxx
    Fu Xi saw phoenixes gathering under a tong tree and so made a qin in the shape....

23. 燕丹子 Yan Danzi (V.352/3)
    19876.31 Book by unknown author in three folios; concerns Dan (see Giles), Crown Prince of Yan (d.226 BCE)
    Jing Ke tries to assassinate the king of Qin, who is saved after he 乞 begs to hear qin one last time.

24. 韓非子 Hanfeizi (V.353/4)
    Han Fei: c. 280 - 233 BCE; five selections
    • Fu Zijian plays qin and Shanfu remains orderly
    • Qin masters 田連 Tian Lian (7/1276) and 成竅 Cheng Qiao
    • Another Duke Ping and Shi Kuang story
    • Shi Kuang plays the qin and laughs
    • King Zhao of Qin has a discussion and Zhong Ziqi has his qin (?)

25. 楊子 Yangzi (V.354)
    Yangzi is Yang Zhu (15489.184 楊朱, style name 子居 Ziju; also a chapter of 列子 Liezi). NFI. Two short selections.
    • Qin, se and 簫韶 Xiaoshao music
    • Qin and se

26. 荀子 Xunzi (V.354)
    Seven selections from five books; translated by John Knoblock, 2 Vols., Hunan 1999 (bilingual).
    • 1.7:     Hu Ba on se and Bo Ya on qin
    • 5.13:   Hearing good doctrines is better than hearing qin or se
    • 10.5:   Music such as that of qin and se help establish distinctions and harmony
    • 10.12: Fill ears with sounds such as qin and se so people behave properly
    • 19.2:   Music from instruments such as qin and se nurture the ear
    • 19.16: Don't tune qin and se at a funeral
    • 20.9: "The gentleman uses bell and drum to guide the inner mind and qin and se zithers to gladden the heart."

27. 孔叢子 Kong Congzi (V.354)
    7077.331 Falsely attributed to 孔鮒 Kong Fu (ca. 264 - 208), an eighth generation descendant of Confucius
    Actual date uncertain; two passages
    • Playing qin to enjoy the Dao of the sage kings
    • Zengzi, Zigong, Confucius and a cat (compare the Cai Yong story)

28. 劉子 Liuzi (V.354/5)
    2270.29 A book also called 新論 Xin Lun, 10 folios, author unknown; three selections
    • 宣帝 Emperor Xuan (of Han) hears a qin of Chu (15473.xxx)
    • Qin se parallel governing: if the first string is too tight, the seventh string will break.
    • A man of Zhao has a qin with the sound of Bo Ya

29. 淮南子 Huainanzi (V.355)
    A book of 21 essays written at the court of Liu An; nine selections from six chapters
    • 2. Qin and se
    • 9. Rong Qiqi plays the qin for Confucius. Comment on qin and se
    • 11. Commentary on the story of Shi Kuang and Duke Ping
    • 13? Qin and se
    • 19. This passage, sometimes used as evidence that Zhou dynasty qins had studs (hui, q.v.).
    • 19. Play qin and read books.
    • 19. Bo Ya and Ziqi, etc.
    • 20. Shen Nong makes a qin
      神農之初作琴也，以歸神及其淫也（should be 以歸神杜淫？），反其天心。
      Shen Nong first made a qin so people could restore their divine nature and restrain their low passions.
    • 21. Five tones are only gong shang jiao zhi yu; five string qin cannot play them....(?)

30. 文中子 Wen Zhongzi (V.355/6)
    Wen Zhongzi is Wang Tong (583 - 616); two selections
    • From Wang Dao
    • From Li Yue

31. 韓詩外傳 Han Shi Waizhuan (V.356/8)
    Illustrations of the Didactic Application of the Classic of Songs, by 韓嬰 Han Ying (2nd c. BCE)
    44126.297: a book in 10 folios by one of the earliest commentators on the Shi Jing
    ICTCL, p.312: a guide to quoting from the Shi Jing; 13 selections
    • Confucius and Zigong
    • Ends with "If the first string is too tight, the seventh string will break."
    • Concerns Fu Zijian
    • Zilu, Wuma Qi and Confucius; quotes Shi Jing, Mao #121
    • Zixia and Confucius
    • Shun plays five-string qin; quote from Shi Jing, Mao #203
    • Confucius studies the qin with Shi Xiang
    • Discussion with Mengzi; Hu Ba on se and Bo Ya on qin
    • Zengzi, Zigong, Confucius and a fox
    • Bo Ya and Ziqi
    • 齊景公 Duke Jing of Qi and 晏子 Yanzi; quotes Shi Jing, Mao #52
    • Zigong and Confucius; quotes Shi Jing, Mao #55
    • Zixia, Zengzi and qin se

32. 越俗外傳 Yue Su Waizhuan (V.358)
    37946.71 Yuesu: customs of Yue; no book mentioned (compare 越絕書外傳 Yue Jue Shu Waizhuan
    越王句踐 King Goujian of Yue and 范子 Fanzi (31472.1) discuss Nan Feng Ge

33. 劉向，新序 Xin Xu: New Arrangement (V.358/9)
    Compiled by Liu Xiang (see also #20 above and #21 below); a "newly arranged Shuo Yuan" (Knechtges)
    A discussion between King Wei of Chu and Song Yu

34. 劉向，說苑 Shuo Yuan: Extracted Discussions (V.359)
    Compiled by Liu Xiang (see #33 and #20 above); moral tales and political admonitions
    • If the first string is too tight the seventh will break
    • The story of Jia Wuzi and Ying Hou
    • Bo Ya and Ziqi
    • Confucius hears someone wailing in the morning, so when he plays his qin it is sad; concerns Yan Hui

35. 桓譚，新論 Huan Tan, Xin Lun (New Discourses; V.359)
    #19 above also quotes Huan Tan, with Yongmen plays qin as subtitle, but it does not actually mention Yongmen
    Subtitled 雍門鼓琴 Yongmen plays qin; has long story about Yongmen Zhou

36. 崔寔，政論 Cui Shi, Zheng Lun (V.360)
    Cui Shi (d. ca. 179 CE; 8405.168)
    The Yellow Emperor sits in the Hall for Learning Truth, plays a 清角 qin, and phoenixes hide the sun

37. 姚信，士緯(新)論 Yao Xin, Shiwei (Xin)lun (V.360)
    Yao Xin (3rd C; Bio/1799), Gentleman's (New) Commentary on Classical Appendices (? see Bio; 5760.xxx)
    Qin and Se are tuned, so Zheng and Wei (music) is made;
    The five colors come forth, so fine silk garments are produced.

38. 董仲舒，(舉賢良對)策 Dong Zhongshu, Ce (V.360)
    Dong Zhongshu (c.179 - c.104; ICTCL: famed Confucian interpreter of classics [and of omens]);
    Examining Matters with the Noble and Good (26567.xxx)
    琴瑟不調甚者必解而更長之乃可鼓也.... (Compares tuning qin se with ruling properly)

39. 瑞應圖 Ruiying Tu (V.360)
    Sketches for Responding to Omens (? 21606.120xxx)
    Shi Kuang played qin for the gods and white snow-geese soared

40. 符瑞圖 Furui Tu (V.360)
    Sketches for Auspicious Influences (? 26541.65xxx)
    Shi Kuang and 元鶴 yuan he (great cranes? 1356.xxx; = 玄鶴 black cranes?)

41. 蔡邕，月令章句 Cai Yong, Yueling Zhangju (V.360)
    Stanzas about Lunar Phenology
    Compares flute tuning with qin se tuning

42. 蔡邕，女訓 Cai Yong, Nü Xun (V.360)
    Admonishments for Ladies (compare with Ban Zhao's Nü Jie)
    舅姑鼓琴 If your husband's parents tell you to play the qin, sit correctly....

43. 顏氏家訓 Yanshi Jiaxun (V.360)
    Household Instructions to the Yan Clan, by 顏之推 Yan Zhitui (531 - 593)
    君子無故不徹琴瑟.... A gentleman must certainly understand qin and se....

44. 李肇，國史補 Li Zhao, Guoshi Bu (V.360)
    Li Zhao (Tang dynasty; Bio/938), Supplement to the History (of the Tang dynasty)
    • Li Mian, Duke of Qian, looks for qins
    • 張相洪靖少時夜會名客觀鄭宥調二琴.... (? Mentions Dong Tinglan)
    • Yu Di has his sister-in-law listen to qin

45. 周益公文集 Zhou Yigong, Wenji (V.360)
    Collected Writings of Zhou Yigong (? Bio.xxx; 3597.xxx; 23498.xxx)
    Inscriptions on qins of the Lei family

46. 魏文帝與吳質書 Wei Wendi yu Wu Zhi Shu (V.360/1)
    A Letter from Wei Emperor Wendi (曹丕 Cao Pi, 188 - 227) to Wu Zhi (177 - 230; Bio/1034)
    • Playing qin was part of a pleasurable meeting

47. 秦嘉與妻書 Qin Jia yu Qi Shu (V.361)
    A Letter from Qin Jia (2nd c. CE; Bio/1829) to his wife 徐淑 Xu Shu
    • Playing qin and thinking of her (?)

48. 嵇康，絕交書 Xi Kang, Jue Jiao Shu (V.361)
    Xi Kang, A letter breaking off relations (with Shan Tao)
    An extract that mentions 抱琴行吟 carrying a qin and intoning while walking

49. 杜之松，荅王績書 Du Zhisong, Da Wang Ji Shu (V.361)
    Du Zhisong (Sui/Tang official; Bio/830) responds to a letter from Wang Ji
    Mentions qin together with wine

50. 王維，文集 Wang Wei, Wenji (V.361)
    Collected Writings of Wang Wei
    招素上人彈琴簡，僕乍脫塵鞅，來就泉右。左墳史，時自舒卷，頗覺思慮斗然一清。顒俟揮弦，寫我佳況。

51. 範文正公與唐異處士書 Fan Wenzhenggong yu Tang Yi Chushi Shu (V.361/2)
    Letter from Fan Zhongyan to Tang Yi
    The whole letter (somewhat extended?) is also quoted in the biography of Fan Zhongyan (q.v.). It includes comments on Cui Zundu's Qin Jian, quoted in QSCB, Chapter 6c3.

52. 竹樓記 Zhulou Ji (V.362)
    Bamboo Tower Collection (26424.333 by 王禹偁 Wang Yucheng (954 - 1001), style name 元之 Yuanzhi;
    A noted poet and prose writer who built a Bamboo Tower in 黃州 Huangzhou
    Play the qin and the 琴調虛暢 qin melody gently rises and falls (8/829 悠揚)....

53. 東坡文集 Dongpo Wenji (V.362/3)
    Collected Writings of (Su) Dongpo (1037 - 1101); seven selections (complete text)
    • Concerns Tang dynasty qin player 張華 Zhang Hua of Hangzhou (not the writer Zhang Hua)
    • The qin player 阮千里 Ruan Qianli (i.e., Ruan Ji's grand-nephew 阮瞻 Ruan Zhan)
    • 蛇蚹文 Snake-scale cracks on a qin
    • About 荅沈疏書 A Letter Responding to Shen Shu (? Bio/xxx)
    • Duke Yi of Wei 衛懿公 (ca. 660 BCE; Bio/51) and his love of cranes
    • An old qin in the home and a visit in 1081 from 陳季常 Chen Jichang (陳慥 Chen Zao; Bio/1353; Giles)
    • Criticizing 劉伯倫 Liu Bolun (劉伶 Liu Ling and Tao Yuanming (for his stringless qin)

54. 黃裳文集 Huang Chang, Wenji (V.363/4)
    or Huang Shang? (Bio/2073 has four, two in Song dynasty; most likely is 1044 - 1130, style name 勉仲 Mianzhong)
    • Corresponding with 張得一道士 the Daoist Zhang Deyi (?) about playing qin

55. 廣樂記 Guang Le Ji (V.364)
    ? Collection of Broad Pleasures (? 9693.308xxx; could be city name); four selections
    • 成少伯 Cheng Shaobo....
    • Ms. Lu and Zhi Zhao Fei
    • Tells of 記仕 (?) Dugu (Ji) as prefect of 台州 Taizhou (?), Xiao Huajia and Shi (Jing)shan
    • 吳人姚兼濟 Liao Jianqi of Wu and an old man of Yangzhou....

56. 晉阮籍樂論 Jin Ruan Ji Yue Lun (V.364)
    Music Discourse of the Jin dynasty's Ruan Ji
    Ji Liuzi faced the wind and played qin....

57. 補亡，樂書 Buwang, Yue Shu (V.364/5)
    35113.1 Buwang is a nickname for 宋柳開 Liu Kai (947 - 1000; Bio/1708); two sections
    • Begins with story of Gao Jianli and Jing Ke
    • Story of Shi Kuang and Duke Ping

58. 陳伯葵琴說 Chen Bokui, Qin Shuo (V.365/6)
    Chen Bokui (Bio/xxx; 538.363xxx); Qin Discussions (none by a Chen)
    Long article

59. 山陰野夫琴議 Shanyin Yefu Qin Yi (V.366/7)
    8043.499 - .501: place name, 王子猷 Wang Ziyu story; 41030.28? QSCM #75?; two selections
    • Begins: 琴者禁也 Qin means restraint
    • 夫和而鳴者謂之聲.... (long article)

60. 吳僧文瑩，湘山野錄 Wu Monk Wen Ying, Xiangshan Yelu (V.367/8)
        Subtitle: 賀若十調 Heruo (Bi) 10 melodies; 雷朴永泉 Lei Pu Yongquan
    Xiangshan Yelu is by the Song dynasty monk Wen Ying; three selections:
    • Song Taizong makes a nine-string qin; discussion of 10 melodies of 賀若弼 Heruo Bi (also in QSCB)
    • Again Taizong; Wen Ying himself also mentioned
    • An expanded (at the beginning) version of the Qinshi Bu essay on Zheng Wenbao

61. 避署錄 Bi Shu Lu (V.368)
    Should be 40034.42 避暑錄話 Bi Shu Luhua, by 葉夢得 Ye Mengde
    Song Taizong again

62. 東南記聞 Dongnanji Wen (V.368)
    14827.308, in three folios, by an unknown author; the original is lost
    嘉定庚午僊翁...

63. 振古琴苑 Zhen Gu Qin Yuan (V.368/9)
    #145 in Qinshu Cunmu; see the preface in Folio 1, #15.
    • Song Taizong's nine string qin again

64. 拔太古遺音 Epilogue to Taigu Yiyin (V.369)
    by 宋濂 Song Lian
    • Includes criticism of Yang Zuan

65. 道書 Dao Shu (V.369/70)
    39843.164 "Daoist books"; mentions nothing specific; 22 short commentaries
    • 太素三元王祝曰﹕飛飄玉輪彈琴鳴鍾。（達洞真經）
    • etc.

66. 歷代琴數目 Lidai Qin Shumu (V.370/1)
    Seems to be 45 entries, some with multiple titles, some with brief explanation, last one lengthy
    1. Zhuge Liang (181 - 234) of Shu, Qin Classic, 1 Folio (QSCM, #15)

    2. Dai family, Qin Handbook, 4 Folios; handcopied tablature, 2 Folios

    3. ...

 
Footnotes (Shorthand references are explained on a separate page)

1. Folio 16: Written Records (記載)
Further information in the Preface. (V....) refers to page numbers in Vol. V of Qinqu Jicheng.
(Return)

2. Li Ji and other books with Li in the title
A punctuated text and Legge translation for the Record of Rites (禮記 Li Ji) are going online as part of Donald Sturgeon's Chinese Text Project.

There are several other works with Li in the title that I have had trouble tracing. These include:

1. 禮義 Li Yi or 禮義纂 Li Yi Zuan; see quote (堯使母句作琴五[絃]。)
   - 禮義 25404.165: 1. 禮與義 li and yi (ceremonial and righteousness; 2. 禮儀 (see next).
   - 禮儀 25404.213: 1. 謂禮之要目 principal items of rites; 2. 禮節威儀也 glorious ethical code and manners.
      No book with these titles, and I cannot trace the text. However there is an Yi Li (see next)
2. 儀禮 Yi Li (As yet I have found no qin quotes or indications that the above is an alternate title for this; no 儀禮纂 Yi Li Zuan)
   1181.115 書名，儀禮於漢代已殘闕 a book already fragmentary in the Han dynasty;
   apparently 3 of its 4 books were incorported into the Li Ji. (義禮 29142.xxx)
3. 禮少儀 Li Shao Yi; see quote (琴瑟埶之皆在左手埶....)
   7634.248 少儀 Shao yi says Tang official rank or 禮記篇名 name of a chapter in the Li Ji (see above), but there is no connection to the quote given there. Yi Shi simply means "ceremonies".
4. 禮記，疏 Commentary (Shu) on Li Ji; see quote
   25404.103 禮記 Li Ji does not mention this commentary (shu) and I do not know how to date the information given by the above quote that the qin then had seven strings.
   (Return)

3. Significance of the notes
The full passage from 樂記 Yue Ji 3 is as follows (see online text)

聲音之道，與政通矣。宮為君，商為臣，角為民，徵為事，羽為物。五者不亂，則無怗懘之音矣。宮亂則荒，其君驕。商亂則陂，其官壞。角亂則憂，其民怨。徵亂則哀，其事勤。羽亂則危，其財匱。五者皆亂，迭相陵，謂之慢。如此，則國之滅亡無日矣。
There is an interaction between the words and airs (of the people) and the character of their government. (The note) gong represents the ruler; shang, the ministers; jiao, the people; zhi, affairs; and yu, things. If there be no disorder or irregularity in these five notes, there will be no want of harmony in the state. If gong be irregular, (the air) is wild and broken; the ruler of the state is haughty. If shang be irregular, (the air) is jerky; the offices of the state are decayed. If jiao be irregular, (the air) expresses anxiety; the people are dissatisfied. If zhi be irregular, (the air) expresses sorrow; affairs are strained. If yu be irregular, (the air) is expressive of impending ruin; the resources (of the state) are exhausted. If the five notes are all irregular, and injuriously interfere with one another, they indicate a state of insolent disorder; and the state where this is the case will at no distant day meet with extinction and ruin.
(Return)

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