"Guanju" is about the virtue of the Queen Consort.  It is the beginning of the feng or "Airs"; it is the means by which the world is influenced and by which the relations between husband and wife are rectified.  Therefore, it is used for the people in the countryside as well as for those in the feudal states.

Feng, or "Airs," is a wind; it is "to teach."  The wind is that with which [people] move [the ruler]; teaching is that by which [the ruler] transforms [the people].  Poetry is where intent goes.  In the heart, it is an intent; released through words, it is a poem.  The affections move within and take on form in words.  When putting them in words does not suffice, one expresses them with a sigh.  When sighing does not suffice, one elongates them by singing.  When elongated singing does not suffice, one unconsciously dances them with the hands and taps them with the feet.

The affections are released in sounds; when sounds form a pattern, they are "tunes."  Tunes of a well-ordered age are peaceful in happiness; its government is harmonious.  Tunes of a troubled age are resentful in anger; its government is obstinate.  Tunes of a ruined state is sorrowful in lamentation; its people are in distress.  Therefore, nothing is more fitting than poetry to rectify the gains and losses, to move heaven and earth, and to affect gods and spirits.  By it, the former kings bonded husbands and wives, accomplished the fostering of filial piety and reverence, deepened human relations, perfected the teaching and transforming of the people, and changed customs.

Therefore, there are six principles in the Shijing: 1) feng or "Airs"; 2) fu or "enumeration"; 3) bi or "comparison"; 4) xing or "stimulus"; 5) ya or "Odes"; 6) song or "Hymns."

Those above changed those below by feng; those below stimulated those above by feng.  Because remonstrations were made mainly through cultured patterns, those who spoke them did not offend; those who heard them were sufficiently warned.  That is why they are called "Airs."

When the kingly way declined, when rites and righteousness were abandoned, when the governing and teaching got lost, when the ways of government differed from state to state, when customs varied from family to family, the "Changed Airs" and "Changed Odes" were made.

When the state historians were perspicacious about the traces of the gains and losses, pained by the abandonment of human relations, saddened by the cruelty of government and punishment, they sang their emotive nature to influence those above.  They were the ones who had insight regarding the changes of affairs and who longed for old customs.  Therefore, "Changed Airs" were released from the affections and stopped within the bounds of rites and righteousness.  Releasing from affection was the nature of the people; stopping within the bounds of rites and righteousness was the beneficient influence of the former kings.

As such, the affairs of a state are tied to the roots of an individual.  This is called "Airs."  To give forms to the winds of the four directions by articulating the affairs under heaven is called "Odes."  "Odes" are proper.  They are the articulation of how the government of a king rose or fell.  There are lesser and greater matters in the government, and that is why there are "Lesser Odes" and "Greater Odes."  "Hymns" praise how virtue flourished.  Through these the successes were reported to the Brilliant Spirits of the ancestors.  These are the four beginnings.  They were the perfection of the Shijing.

The transformation in "Guanju" and "Linzhi" [the first and the last poems of the first section, Zhounan] is the "Airs" of the kings, and thus tied to the Duke of Zhou.  "South (nan)" [in the title of the first two sections of "Airs"] is to say that the transformation occurs from north to south.  The virtue in "Quechao" and "Zhouyu" [the first and the last poems of the second section, Shaonan] is the "Airs" of the feudal lords and that by which former kings taught, and thus connected to the Duke of Shao.  "Zhounan" and "Shaonan" [the first two sections of "Airs"] are the way of correct beginning, the foundations of the kingly transformation.

That is why "Guanju" delighted in obtaining a virtuous lady and matching her with a virtuous man.  It is being concerned with the advancement of the worthy, and not being indulged in her beauty.  It shows the concerns about [virtue being] secluded as well as the thought of worthy talents, and there is no intention of harming the good.  This is the meaning of "Guanju."
 

(tr. Hyong Rhew)