The Book of Songs or Poetry contains some of the oldest pieces of Chinese literature. It is said to have been compiled by Confucius himself, who has chosen out some 300 poems out of 3000. During the Former Han Dynasty, there were still existant four versions of the collection: in the states of Lu 魯 (by Shen Gong 申公), Qi 齊 (by Hou Cang 后蒼 and Master Sun 孫氏) and Han 韓 (by Han Ying 韓嬰), and the private collection of Duke Mao 毛公. Only the last has survived until now, the commentaries to the Han version have survived in the collection Han Shi Waizhuan 韓詩外傳.
The four divisions of the Book of Songs are the "Airs of the states" (Guofeng 國風), mostly songs of love and emotions, the Minor Odes (Xiaoya 小雅), partially with social critics, the Major Odes (Daya 大雅), concerning the praise of the Zhou Dynasty, and the Hymns (Song 頌), ritual songs of the house of Zhou 周, the dukes of Lu 魯 and the descendants of the house of Shang 商. All poems have a small preface (xiaoxu 小序), the first poem has a Great Preface (Daxu 大序). The content of these prefaces is a moral or even political interpretation of songs that surfacially seem to be simple love songs. The characteristic of these songs is that the initial verse creates a certain mood, in most cases using a picture of nature, birds or plants.
Almost all scholars of Han, Tang and Song wrote commentaries to the Book of Songs, because it was an integral part of Confucian teaching and had to be learned by heart by generations and generations of scholars.
The chapters of the Shijing are:

國風 Airs of the States　(for the location of the particular states, see also the map of Western Zhou) 周南 Airs South of Zhou (southern Shaanxi) 召南 Airs South of Shao (same location) 邶 Airs of Bei (southern Hebei) 鄘 Airs of Yong (southern Shanxi) 衛 Airs of Wey (southern Shanxi) 王 Airs of the Royal Domain (northern Henan) 鄭 Airs of Zheng (western Henan) 齊 Airs of Qi (Shandong) 魏 Airs of Wei (southern Shanxi) 唐 Airs of Tang (middle Shanxi) 秦 Airs of Qin (Gansu) 陳 Airs of Chen (southern Henan) 檜 Airs of Gui (northern Henan) 曹 Airs of Cao (western Shandong) 豳 Airs of Bin (middle Shaanxi) 小雅 Minor Odes 鹿鳴之什 The Decade Lu Ming 南有嘉魚之什 The Decade Nan You Jia Yu 鴻鴈之什 The Decade Hongyan 節南山之什 The Decade Jie Nan 谷風之什 The Decade Gu Feng 甫田之什 The Decade Fu Tian 魚藻之什 The Decade Yu Zao 大雅 Major Odes 文王之什 The Decade Wen Wang 生民之什 The Decade Sheng Min 蕩之什 The Decade Tang 頌 Hymns 周頌 Hymns of Zhou 清廟之什 The Decade Qing Miao 臣工之什 The Decade Chen Gong 閔予小子之什 The Decade Min Yu Xiaozi 魯頌 Hymns of Lu 商頌 Hymns of Shang

Examples of lyrics or songs each of the four sections. The first song of the Shijing is probably the most famous and most commented poem of old China. The Great and Small Preface to this song are translated too, as well as the begin of the Tang time Wujing Zhengyi 五經正義commentary.

• 大序
  風，風也，教也。風以動之，教以化之。詩者，志之所之也。在心為志。發言為詩。情動於中，而形於言。 言之不足，故嗟歎。嗟歎之不足，故永歌之。永歌之不足知，手之，舞之，足之，蹈之也。情發於聲，聲成文，謂之音。 治世之音安以樂，其政和。亂世之音怨以怒，其政乖。亡國之音哀以思，其民困。故正得失，動天地，感鬼神，莫近於詩。先王以是經夫婦，成孝敬，厚人倫，美教化，移風俗。
  故詩有六義晏：一曰風，二曰賦，三曰比，四曰興，五曰雅，六曰頌。 上以風化下，下以風刺上。主文而譎諫，言之者無罪，聞之者足以戒，故曰風。至於王道衰，禮義廢，政教失，國異政，家殊俗，而變風，變雅作矣。
  國史明乎得失之跡，傷人倫之廢，哀刑政之苛，詠吟情性，以風其上。達於事變，而懷其舊俗者也。故變風發乎情， 止乎禮義。發乎情，民之性也。止乎禮義，先王之澤也。是以一國之事，繫一人之本，謂之風。言天下之事，形四方之風，謂之雅。
  雅者，正也。言王政之所由廢興也。政有小大，故有小雅焉，有大雅焉。頌者，美盛德之形容。以其成功，告於神明者也。
  是謂四始，詩之至也。然則《關雎》、《麟趾》之化，王者之風。故繫之周公。《南》言，化自北而南也。《鵲巢》、《騶虞》之德，諸侯之風也。 先王之所以教，故繫之召公。周南、召南，正始之道，王化之基。
  The Great Preface
  "Air" means "wind" or "educating". The airs move people and make them better. Songs are, where the mind is going to. In the heart, it is called "mind", spoken out, it is called "song". The motion is moved in the heart and takes shape in words; if words are not sufficent, sighing can be better; if sighing is not sufficient, songs can be better; if songs are still not sufficient, motions can be expressed with hands, by dancing, with feet, by springing. Motions are expressed by voice; if voice forms words, it is called tone. The tone regulating the world, pacifies by music, its rule is harmonious. The tone disturbing the world, heates the anger, its rule is obstinate. The tone destroying a country is sad in thoughts, its people is in difficulties. Correct behaviour receives the lost, it moves heaven and earth, it makes sympathetic all ghosts and deities. To acheive this, nothing is better than songs. The old kings employed songs to have guidelines for the matrimony, to complete filialty and reverence, to enforce human relationships, to beautify cultivation, and to make better people's customs.
  There are six different kinds of songs: airs (feng), rhapsodies (fu), comparisons (bi), moods (xing), odes (ya) and hymns (song). The ruling people use the airs to ameliorate their subjects, the subjects use the airs to criticize the ruling. They rely on words to admonish with some small hints. The speakers thus are not to be blamed, and the auditors are enabled to change their behaviour. This is why these songs are called "wind". When the way of the kings has become weak, when rites and etiquette are thrown away, when politics and education missed their target, when the state has altered its government, when the families have given up their good customs, this is, when airs and odes have to change and make things better.
  The scribes of the states enlighten cases of lost virtue, of damaging human relationships, of giving up penal law and government; they chant and sing of motions and good character to educate the rulers. If it has come so far that things alter, people already weep for their old rules and customs. Therefore, the changing airs begin in the motions and reach to the rites and etiquette. Starting with motions means, that they come the people. Reaching to rites and etiquette means, that the airs are the reflected glory of the old kings. If the affairs of one state are bound to every single person, songs are called "airs", and if all affairs under heaven are built up the airs of all states, songs are called "odes".
  "Ode" means, "to rectify". It gives the reason why moods in a ruler's government is thrown away. There are great and small matters in government, and adequately we find Maior and Minor Odes. "Hymn" means, to beautify the description of a flourishing virtue. It declares the success of a virtuous government to the deities.
  These are the four beginnings, and where songs have its aim. The educational target of the "Guan the ospreys cry" and "Unicorn's hoofs" airs is the king, and they are connected to the duke of Zhou. "South" means, that education goes north to south. The airs "Magpie's nest" and "The zouyu tiger" are written for the feudal lords and were used by the former kings for educational purposes. They are connected to the Duke of Shao. The airs of the chapters "South of Zhou" and "South of Shao" are the way of the correct begin, they are the base for an ideal government.
  

１．國風１．１．周南１．１．１．關雎（１）
關關雎鳩，在河之洲。窈窕淑女，君子好逑。
參差荇菜，左右流之。窈窕淑女，寤寐求之。
求之不得，寤寐思服。悠哉悠哉！輾轉反側。
參差荇菜，左右采之。窈窕淑女，琴瑟友之。
參差荇菜，左右芼之。窈窕淑女，鍾鼓樂之。
The Airs of the States, South of Zhou, The ospreys cry
"Fair, fair," cry the ospreys on the island in the river. Lovely is this noble lady, fit bride for our lord.
In patches grows the water mallow; to left and right one must seek it. Shy was this noble lady; day and night he sought her.
Sought her and could not get her; day and night he grieved. Long thoughts, oh, long unhappy thoughts, now on his back, now tossing on to his side.
In patches grows the water mallow; to left and right one must gather it. Shy is this noble lady; with great zither and little we hearten her.
In patches grows the water mallow; to left and right one must choose it. Shy is this noble lady; with bells and drums we will gladden her.

• 關雎小序
  《關雎》，后妃之德也。風之始也。所以風天下而正夫婦也。故用之鄉人焉，用之邦國焉。
  (Small Preface 1st part:) The song '"Fair', cry the ospreys", expresses the virtue of the ruler's consort. It is the first of the airs. The airs are like a wind to blowing over the earth and serve to rectify the relationship between man and woman. They can be employed for all people in the villages and in all states.
  是以《關雎》樂得淑女以配君子。愛在進賢，不淫其色，哀窈窕，思賢才，而無傷善之心焉。是《關雎》之義也。
  (Small Preface 2nd part:) The music of the "Ospreys" air says, that a noble lady has to be the consort of a noble man. Love comes up because of growing worthiness, not because of sensual pleasures. Her lovelyness causes the noble man's pity, he thinks of her virtual abilites, and he does not hurt her good heart. This is the meaning of the first air.
  
• 五經正義
  興也。「關關」，和聲也。雎鳩，王雎也。鳥摯而有別。水中可居者曰「洲」。 后妃說（悅）樂君子之德。無不和諧，又不淫其色。慎固幽深，若關雎之有別焉。然後可以風化天下。夫婦有別，則父子親。父子親，則君臣敬。君臣敬，則朝廷正。朝廷正，則王化成。《箋》云：「摯之言，至也。謂王雎之鳥，雌雄情意至。然而有別。」案：興，是譬喻之名。意有不盡。故提曰「興」。他皆放此。...
  The Real Meaning of the Five Classics
  An air with a mood-laden initiation. Guanguan ("Fair, fair") is an expression of harmony (guan also means "relationship"). The osprey is a symbol for the King. The birds have cordial feelings to each other, but they follow a different way. Zhou means "islet". The consort should be glad about a noble man's virtue; nothing between them shall not be in harmony, and they should not indulge in sensual pleasures. Their love shall be cautious, steadfast, deep and not outgoing, just like the different ways of the (male and female) osprey in this air. If the noble ruler and his consort behave like this, the world can be made better. If man and woman live according to their different ways, father and son have their different position in relationship, ruler and subject respect each other, the court behaves in a correct way, and only then, the exemplarious virtue of the king is complete. (Zheng Xuan's) jian commentary says: "'Cordial' means, that they are coming to each other, concretely spoken: although the feelings of male and female osprey are coming together, they follow a different way." Note: Mood-laden initiation (xing) is a metaphor with many different meanings. Fitting to this air, the title "mood-laden initiation" is appropriate. Everything else has its origin in this air.

２．小雅２．１．鹿鳴之什２．１．１．鹿鳴（１６１）
呦呦鹿鳴，食野之苹。我有嘉賓，鼓瑟吹笙。
吹笙鼓簧，承筐是將。人之好我，示我周行。
呦呦鹿鳴，食野之蒿。我有嘉賓，德音孔昭。
視民不恌，君子是則是傚。我有旨酒，嘉賓式燕以敖。
呦呦鹿鳴，食野之芩。我有嘉賓，鼓瑟鼓琴。
鼓瑟鼓琴，和樂且湛。我有旨酒，以燕樂嘉賓之心。
The Minor Odes, 1st Decade, The deer cry
Hoo, hoo, cry the deer nibbling the black southernwood in the fields. I have a lucky guest. Let me play my zither, blow my reed-organ.
Blow my reed-organ, trill their tongues, take up the baskets of offerings. Here is a man that loves me and will teach me the ways of Zhou.
Hoo, hoo, cry the deer nibbling the white southernwood of the fields. I have a lucky guest, whose fair fame is very bright.
He sees to it that the common people do not waver, of all gentlemen he is the pattern and example. I have good wine; let my lucky guest now feast and play.
Hoo, hoo, cry the deer nibbling the wild garlic of the fields. I have a lucky guest. I play my zithers, small and big.
Play my zithers, small and big. Let us make music together, let us be merry, for I have good wine to comfort and delight the heart of a lucky guest.

３．大雅３．１．文王之十３．１．９．下武（２４３）
下武維周，世有哲王。三后在天，王配于京。
王配于京，世德作求。永言配命，成王之孚。
成王之孚，下土之式。永言孝思，孝思維則。
媚茲一人，應侯順德。永言孝思，昭哉嗣服。
昭茲來許，繩其祖武。於萬斯年，受天之祜。
受天之祜，四方來賀。於萬斯年，不遐有佐。
The Major Odes, 1st Decade, Footsteps here below
Zhou it is that continues the footsteps here below. generation to generation it has had wise kings. Three rulers are in Heaven (Wen, Wu and Cheng), and the king (Kang) is their counterpart in his capital.
He is their counterpart in his capital, the power of generations he has matched; long has he been mated to Heaven's command and fulfilled what is entrusted to a king.
Has fulfilled what is entrusted to a king, a model to all on earth below; forever pious toward the dead, a very pattern of piety.
Loved is this One Man, meeting only with docile powers; forever pious toward the dead, gloriously continuing their tasks.
Yes, gloriously he steps forward continuing in the footsteps of his ancestors. "For myriads of years may you receive Heaven's blessing!
Receive Heaven's blessing!" So all sides they come to wish him well. "For myriads of years may your luck never fail!"

４．頌４．１．周頌４．１．１．清廟之什４．１．１．１．清廟（２６６）
於穆清廟，肅雝顯相。濟濟多士，秉文之德。
對越在天，駿奔走在廟。不顯不承﹖無射於人斯。
Hymns, Zhou Hymns, 1st Decade, The hallowed temple
Solemn is the hallowed temple, awed and silent the helpers, well purified the many knights that handle their sacred task.
There has been an answer in Heaven; swiftly they flit through the temple, very bright, very glorious, showing no distaste toward men.

The poems are translated by Burton Watson, the prefaces and the .