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The Lî Kî, Books XI–XLVI — Sacred Books of China Part IV, SBE Vol. 28 (trans. James Legge, 1885)

English·1879–1910·trans. James Legge·324 passages

The text · part 4 of 16

When

regulate the minds of men in their likings and dislikings; and the fourth, that that regulation was in harmony with the will of Heaven, as indicated in the nature of man,

SECT. I. yo xt. 99

bowings and courtesies marked the government of the kingdom, there would be what might be described as music and ceremony indeed. Violent oppression of the people would not arise; the princes would appear submissively at court as guests; there would be no occasion for the weapons of war, and no employment of the five punishments!; the common people would have no distresses, and the son of Heaven no need to be angry :—such a state of things would be an universal music. When the son of Heaven could secure affection between father and son, could illustrate the orderly relation between old and young, and make mutual respect prevail all within the four seas, then indeed would ceremony (be seen) as power.

19. In music of the grandest style there is the same harmony that prevails between heaven and earth ; in ceremonies of the grandest form there is the same graduation that exists between heaven and earth, Through the harmony, things do not fail (to fulfil their ends); through the graduation we have the sacrifices to heaven and those to earth.» In the visible sphere there are ceremonies and music; in the invisible, the spiritual agencies. These things being so, in all within the four seas, there must be mutual respect and love.

20. The occasions and forms of ceremonies are different, but it is the same feeling of respect (which they express), The styles of musical pieces are different, but it is the same feeling of love (which they

1 The ‘five punishments’ were branding on the forehead, cutting off the nose, other various dismemberments, castration, and death ; see Mayers’ ‘Chinese Readers’ Manual,’ page 313. But the one word ‘ punishment’ would sufficiently express the writer’s meaning.

H 2

100 THE Li xf. BK. XVII.

promote). The essential nature of ceremonies and music being the same, the intelligent kings, one after another, continued them as they found them. The occasions and forms were according to the times when they were made; the names agreed with the meni which they commemorated.

. Hence the bell, the drum, the flute, and the sounding: -stone; the plume, the fife, the shield, and the axe are the instruments of music; the curvings and stretchings (of the body), the bending down and lifting up (of the head); and the evolutions and numbers (of the performers), with the slowness or rapidity (of their movements), are its elegant accompaniments. The dishes, round and square, the stands, the standing dishes, the prescribed rules and their elegant variations, are the instruments of cere- ‘monies ; the ascending and descending, the positions high and low, the wheelings about, and the changing of robes, are their elegant accompaniments.

The dishes, round and square, the stands, the standing dishes, the prescribed rules and their elegant variations, are the instruments of cere- ‘monies ; the ascending and descending, the positions high and low, the wheelings about, and the changing of robes, are their elegant accompaniments.

22. Therefore they who knew the essential nature of ceremonies and music could frame them; and they who had learned their elegant accompaniments could hand them down. The framers may be pronounced sage; the transmitters, intelligent. Intelligence and sagehood are other names for transmitting and inventing.

. 23. Music is (an echo of) the harmony between heaven and earth; ‘ceremonies reflect the orderly distinctions (in the operations of) heaven and earth, ) From that harmony all things receive their being ; to those orderly distinctions they owe the differences '_between them. . Music has its origin from heaven ; ceremonies take their form from the appearances of earth. If the imitation of those appearances were

SECT. 1. Yo xt. IOI

carried to excess, confusion (of ceremonies) would appear; if the framing of music were carried to excess, it would be too vehement. Let there be an intelligent understanding of the nature and interaction of (heaven and earth), and there will be the ability to practise well both ceremonies and music. 24. The blending together without any mutual injuriousness (of the sentiments and the airs on the different instruments) forms the essence of music; and the exhilaration of joy and the glow of affection are its business. fi Exactitude and correctness, without any inflection or deviation, form the substance of ceremonies, while gravity, respectfulness, and a humble consideration are the rules for their dis- |

, 5 charge. \

25. As to the employment of instruments of metal and stone in connexion with these ceremonies and this music, the manifestation of them by the voice and its modulations, the use of them in the ancestral temple, and at the altars to the spirits of the land and grain, and in sacrificing to (the spirits of) the hills and streams, and to the general spiritual agencies (in nature) ;—these are (external demonstrations), natural even to the people’.

26. When the (ancient) kings had accomplished their undertakings, they made their music (to commemorate them); when they had established their

1 The eleven paragraphs ending with this ferm the second chapter of the Book, called by Lit Hsiang Yo Lun (4% afl)» while the third chapter, extending to the end of the section, is called Yo Li (3 #f), as if the two were an expansion of the statement in the seventh paragraph, that music is ‘the intercommunication of the modulated sounds and the mind in their relations and differences.’

| t

102 THE Li xf, . BK. xvii.

BK. xvii.

government, they framed their ceremonies. The excellence of their music was according to the greatness of their undertakings; and the completeness of their ceremonies was according to the comprehensiveness of their government. The dances with shields and axes did not belong to the most excellent music!, nor did the sacrifices with cooked flesh mark the highest ceremonies’.

27. The times of the five Tis were different, and therefore they did not each adopt the music of his predecessor. The three kings belonged to different ages, and so they did not each follow the ceremonies of his predecessor. Music carried to an extreme degree leads to sorrow, and coarseness in ceremonies indicates something one-sided. To make the grandest music, which should bring with it no element of sorrow, and frame the completest ceremonies which yet should show no one-sidedness, gould be the work only, of the great sage.

' 28, There are heaven above and earth below, and between them are distributed all the (various) beings with their different (natures and qualities) :—in accordance with this proceeded the framing of ceremonies. (The influences of) heaven and earth flow forth and never cease; and by their united action (the phenomena of) production and change ensue :— in accordance with this music arose. The processes of growth in spring, and of maturing in summer (suggest the idea of) benevolence ; those of in-gathering in autumn and of storing in winter, suggest

1 As being, I suppose, commemorative of the achievements of war, and not the victories of peace ; and as marking a progress of society, and a departure from the primitive era of innocent simplicity and reverence.

SECT. I. yo xi, 103

7 \ righteousness. [Benevolence is akin to music, and | righteousness to ceremonies. ;

29. Harmony is the thing principally sought in music :—it therein follows heaven, and manifests the | spirit-like expansive influence characteristic of it. | Normal distinction is the thing aimed at in ceremonies :—they therein follow earth, and exhibit the spirit-like retractive influence characteristic of it. Hence the sages made music in response to heaven, and framed ceremonies in correspondence with earth. | In the wisdom and completeness of their ceremonies

‘and music we see the directing power of heaven and earth}.

30. (The relation) between ruler and minister was determined from a consideration of heaven (conceived of as) honourable, and earth (conceived of as) mean. The positions of noble and mean were fixed with a reference to the heights and depths displayed by the surface (of the earth). The regularity with which movement and repose follow each other (in the course of nature) led to the consideration of affairs as small

The positions of noble and mean were fixed with a reference to the heights and depths displayed by the surface (of the earth). The regularity with which movement and repose follow each other (in the course of nature) led to the consideration of affairs as small

1 On the first of these two paragraphs, P. Callery says :—‘The celebrated Encyclopzdist, M4 Twan-lin (Book 181), says that this passage is one of the most marvellous that ever were written, and he draws from it the proof that the work could not have been written later than the Han, “because reckoning from that dynasty, there did not appear any author capable of conceiving ideas so profound, and expressing them in language so elevated.”’ P. Callery adds, ‘ As regards the origin of the Lf X?, the reasoning of the Encyclopedist appears to me passably (passablement) false ; as to the intrinsic worth of the passage, I leave it to the reader to form his judgment from the translation, which I have endeavoured to render as faithful as possible.’

In the passage of M4 Twan-lin, however, that author is simply quoting the words of XQ Hsi (T4 Xw4n, Book 37), and expresses no opinion of his own.

104 THE Li xt. BE, XVII.

and great. The different quarters (of the heavens) are grouped together, and the things (of the earth) are distinguished by their separate characteristics; and this gave rise to (the conception of) natures and their attributes and functions. In heaven there are formed its visible signs, and earth produces its (endless variety of) things; and thus it was that ceremonies were framed after the distinctions between heaven and earth.

31. The breath (or influence) of earth ascends on high, and that of heaven descends below. These in their repressive and expansive powers come into mutual contact, and heaven and earth act on each other. (The susceptibilities of nature) are roused by the thunder, excited by the wind and rain, moved by the four seasons, and warmed by the sun and moon ; and all the processes of change and growth vigorously. proceed. Thus it was that music was framed to indicate the harmonious action of heaven and earth.

32. If these processes took place out of season, there would be no (vigorous) life; and if no distinction were observed between males and females, disorder would arise and grow :—such is the’ nature , of the (different qualities of) heaven and earth>—-~~"

33. When we think of ceremonies and music, how they reach to the height of heaven and embrace the earth ; how there are in them the phenomena of retrogression and expansion, and a communication with the spirit-like (operations of nature), we must pronounce their height the highest, their reach the farthest, their depth the most profound, and their breadth the greatest.

~~ 34. Music appeared in the Grand Beginning (of all things), and ceremonies had their place on the com-

(

~~ 34. Music appeared in the Grand Beginning (of all things), and ceremonies had their place on the com-

(

SECT. Il. yo xt. 105 pletion of them. | Their manifestation, being ceaseless, gives (the ‘idea of) heaven; and again, being motionless, gives (the idea of) earth. Through the movement and repose (of their interaction) come all things between heaven and earth. Hence the sages simply spoke of ceremonies and music.

Section II.

1. Anciently, Shun made the lute with five strings, and used it in singing the Nan Fang. Khwei was the first who composed (the pieces of) music to be employed by the feudal lords as an expression of (the royal) approbation of them’.

2. Thus the employment of music by the son of Heaven was intended to reward the most virtuous among the feudal lords. When their virtue was very great, and their instructions were honoured, and all the cereals ripened in their season, then they were rewarded by (being permitted) the use of the music. Hence, those of them whose toils in the government of the people were conspicuous, had their rows of pantomimes extended far; and those of them who had been indifferent to the government of the people

? Nan Fang, ‘the South wind,’ was the name of a poetical piece made by Shun, and celebrating the beneficent influence of rulers and parents as being like that of the south wind. Four lines of it are found in the Narratives of the School (Article 35) :—

‘The south wind’s genial balm

Gives to my people’s sorrows ease;

Its breath amidst the season’s calm,
Brings to their wealth a large increase.’

The invention of the 44in or lute, here ascribed to Shun, is also attributed to the more ancient Tis, Shin N&ng and Ff-hsi. Perhaps Shun was the first to make it with five strings. Khwei was his minister of music; see vol. iii, pages 44, 45.

- 106 THE Lt xf, BK, XVII.

had those rows made short. On seeing their pantomimes, one knew what was (the degree of) their virtue, (just as) on hearing their posthumous designations, we know what had been (the character of) their conduct.

3. The Ta Kang expressed the brilliance (of its author’s virtue); the Hsien Ah, the completeness (of its author’s) ; the Sh4o showed how (its author) continued (the virtue of his predecessor); the Hsia, the greatness (of its author’s virtue) ; the music of Yin and KAu embraced every admirable quality?.

4. In the interaction of heaven and earth, if cold and heat do not come at the proper seasons, illnesses arise (among the people); if wind and rain do not come in their due proportions, famine ensues. The instructions (of their superiors) are the people’s cold and heat; if they are not what the time requires, an injury is done to society. The affairs (of their superiors) are the people’s wind and rain ; if they are not properly regulated, they have no success. In accordance with this, the object of the ancient kings in their practice of music was to bring their government into harmony with those laws (of heaven and earth). If it was good, then the conduct (of the people) was like the virtue (of their superiors).

5. (The feast on) grain-fed animals, with the adjunct of drinking, was not intended to produce evil, and yet cases of litigation are more numerous in consequence of it :—it is the excessive drinking which produces the evil. Therefore the former kings framed

1 T4& Kang was the name of Y4o’s music ; Hsien Xih, that of Hwang Ti’s; Sh4o, that of Shun’s; and Hsi4, that of Yii’s. Pages would be required to condense what is said about the pieces and their names,

SECT. II. Yo xi. 107

the rules to regulate the drinking. Where there is (but) one presentation of the cup (at one time), guest and host may bow to each other a hundred times, and drink together all the day without getting drunk. This was the way in which those kings provided against evil consequences.

Such feasts served for the enjoyment of the parties atthem. The music was intended to illustrate virtue ; the ceremonies to restrain excess.

6. Hence the former kings, on occasions of great sorrow, had their rules according to which they expressed their grief; and on occasions of great happiness, they had their rules by which they expressed their pleasure. The manifestations, whether of grief or joy, were all bounded by the limits of these rules’.

7. In music the sages found pleasure, and (saw that) it could be used to make the hearts of the people good. Because of the deep influence which it exerts on a man, and the change which it produces in manners and customs, the ancient kings appointed it as one of the subjects of instruction.

8. Now, in the nature of men there are both the energy of their physical powers and the intelligence of the mind; but for their (affections of) grief, pleasure, joy, and anger there are no invariable rules. They are moved according to the external objects which excite them, and then there ensues the manifestation of the various faculties of the mind.

9. Hence, when a (ruler’s) aims are small, notes

1 With this paragraph ends the fourth division of the Book, called Yo Shih ( 334 Pit). meaning ‘ The grant of Music,’ or the principles on which the ancient kings permitted their music to be used by the feudal princes, to signify their approval of what was good, and stimulate all to virtue.

108 THE Li xt. BK. XVII.

meaning ‘ The grant of Music,’ or the principles on which the ancient kings permitted their music to be used by the feudal princes, to signify their approval of what was good, and stimulate all to virtue.

108 THE Li xt. BK. XVII.

that quickly die away characterise the music, and the people’s thoughts are sad; when he is generous, harmonious, and of a placid and easy temper, the notes are varied and elegant, with frequent changes, and the people are satisfied and pleased; when he is coarse, violent, and excitable, the notes, vehement at first and distinct in the end, are full and bold throughout the piece, and the people are resolute and daring; when he is pure and straightforward, strong and correct, the notes are grave and expressive of sincerity, and the people are self-controlled and respectful; when he is magnanimous, placid, and kind, the notes are natural, full, and harmonious, and the people are affectionate and loving; when he is careless, disorderly, perverse, and dissipated, the notes are tedious and ill-regulated, and the people proceed to excesses and disorder.

10. Therefore the ancient kings (in framing their music), laid its foundations in the feelings and nature of men; they examined (the notes) by the measures (for the length and quality of each); and adapted it to express the meaning of the ceremonies (in which it was to be used). They (thus) brought it into harmony with the energy that produces life, and to give expression to the performance of the five regular constituents of moral worth. They made it indicate that energy in its Yang or phase of vigour, without any dissipation of its power, and also in its Yin or phase of remission, without the vanishing of its power. The strong phase showed no excess like that of anger, and the weak no shrinking like that of pusillanimity. These four characteristics blended harmoniously in the minds of men, and were similarly manifested in their conduct. Each occupied quietly

SECT. Il. Yo xf. 109

in its proper place, and one did not interfere injuriously with another.

11. After this they established schools for (teaching their music),and different grades (for the learners). They marked most fully the divisions of the pieces, and condensed into small compass the parts and variations giving beauty and elegance, in order to regulate and increase the inward virtue (of the learners). They gave laws for the great and small notes according to their names, and harmonised the order of the beginning and the end, to represent the doing of things. Thus they made the underlying principles of the relations between the near and distant relatives, the noble and mean, the old and young, males and females, all to appear manifestly in the music. Hence it is said that ‘in music we must endeavour to see its depths.’

Thus they made the underlying principles of the relations between the near and distant relatives, the noble and mean, the old and young, males and females, all to appear manifestly in the music. Hence it is said that ‘in music we must endeavour to see its depths.’

12. When the soil is worn out, the grass and trees on it do not grow well. When water is often troubled, the fish and tortoises in it do not become large. When the energy (of nature) is decayed, its production of things does not proceed freely. In an age of disorder, ceremonies are forgotten and neglected, and music becomes licentious.

13. In such a case the notes are melancholy but without gravity, or joyous without repose. There is remissness (in ceremonies), and the violation of them is easy. One falls into such a state of dissoluteness that he forgets the virtue properly belonging to his nature. In great matters he is capable of treachery and villainy; in small matters he becomes greedy and covetous. There is a diminution in him of the enduring, genial forces of nature, and an extinction of the virtue of satisfaction and harmony. On this

110 THE Lf xt. BK. XVII.

account the superior man despises such (a style of music and ceremonies).

14. Whenever notes that are evil and depraved affect men, a corresponding evil spirit responds to them (from within); and when this evil spirit accomplishes its manifestations, licentious music is the result. Whenever notes that are correct affect men, a corresponding correct spirit responds to them (from within); and when this correct spirit accomplishes its manifestations, harmonious music is the result. The initiating cause and the result correspond to each other. The round and the deflected, the crooked and the straight, have each its own category ; and such is the character of all things, that they affect one another severally according to their class.

15. Hence the superior man returns to the (good) affections (proper to his nature) in order to bring his will into harmony with them, and compares the different qualities (of actions) in order to perfect his conduct. Notes that are evil and depraved, and sights leading to disorder, and licentiousness, are not allowed to affect his ears or eyes. Licentious music and corrupted ceremonies are not admitted into the mind to affect its powers. The spirit of idleness, indifference, depravity, and perversity finds no exhibition in his person. And thus he makes his ears, eyes, nose, and mouth, the apprehensions of his mind, and the movements of all the parts of his body, all follow the course that is correct, and do that which is right.

? This and the six previous paragraphs form the fifth division of the Book, and are called Yo Yen (34 FF), ‘Words about Music.’ The Xhien-lung editors, however, propose changing the Yen (=) into Hsing (Jf), so that the meaning would be ‘Manifestations of Music.’

SECT, It. yo xt. III

16. After this there ensues the manifestation (of the inward thoughts) by the modulations of note and tone, the elegant accompaniments of the lutes, small and large, the movements with the shield and battleaxe, the ornaments of the plumes and ox-tails, and the concluding with the pipes and flutes', All this has the effect of exhibiting the brilliance of complete virtue, stirring up the harmonious action of the four (seasonal) energies; and displaying the true natures and qualities of all things.

17. Hence in the fine and distinct notes we have an image of heaven; in the ample and grand, an image of earth; in their beginning and ending, an image of the four seasons; in the wheelings and revolutions (of the pantomirnes), an image of the wind and rain. (The five notes, like) the five colours, form a complete and elegant whole, without any confusion. (The eight instruments of different materials, like) the eight winds, follow the musical accords, without any irregular deviation. The lengths of all the different notes have their definite measurements, without any uncertainty. The small and the great complete one another. The end leads on to the beginning, and the beginning to the end. The key notes and those harmonising with them, the sharp and the bass, succeed one another in their regular order.

1 Thus:— TT

112 THE Li xt. BK. XVII.

18. Therefore, when the music has full course, the different relations are clearly defined by it; the perceptions of the ears and eyes become sharp and distinct ; the action of the blood and physical energies is harmonious and calm; (bad) influences are removed, and manners changed ; and all under heaven there is entire repose.

19. Hence we have the saying, ‘Where there is music there is joy.’ Superior men rejoice in attaining to the course (which they wish to pursue); and smaller men in obtaining the things which they desire. When the objects ofdesire are regulated by a consideration of the course to be pursued, there is joy without any disorder. When those objects lead to the forgetfulness of that course, there is delusion, and no joy.

20. It is for this purpose that the superior man returns to the (good) affections (proper to his nature), in order to bring his will into harmony with them, and makes extensive use of music in order to perfect his instructions. When the music has free course, the people direct themselves to the quarter (to which they should proceed), and we can see (the power of) his virtue.

When the music has free course, the people direct themselves to the quarter (to which they should proceed), and we can see (the power of) his virtue.

21. Virtue is the strong stem of (man’s) nature, and music is the blossoming of virtue. Metal, stone, silk, and bamboo are (the materials of which) the instruments of music (are made). Poetry gives expression to the thoughts; singing prolongs the notes (of the voice) ; pantomimic movements put the body into action (in harmony with the sentiments). These three things originate in the mind, and the instruments of the music accompany them.

22. In this way the affections (from which comes the music) are deeply seated, and the elegant display

SECT. If. Yo xf. 113

of them is brilliant. All the energies (of the nature) are abundantly employed, and their transforming power is mysterious and spirit-like. A harmonious conformity (to virtue) is realised within, and the blossoming display of it is conspicuous without, for in music, more than other things, there should be nothing that is pretentious or hypocritical.

23. Music springs from the movement of the mind; the notes are the manifestation of the music; the elegant colours and various parts are the ornaments of the notes. The superior man puts its fundamental cause in movement, makes its manifesting notes into music, and regulates its ornaments.

24. Thus they first strike the drum to warn (the performers) to be in readiness, and (the pantomimes) take three steps to show the nature of the dance. This is done a second time and they begin to move forward ; and when they have completed their evolutions, they return and dress their ranks. However rapid their movements may be, there is nothing violent in them; however mysterious they may be, they are not beyond the power of being understood. One, studying them alone, finds pleasure in the object of them, and does not tire in his endeavours to understand them. When he has fully understood them, he does not keep what he desires to himself. Thus the affections (of joy) are displayed; the (ideal) of righteousness is established; and when the music is ended, the (due) honour has been paid to virtue. Superior men by it nourish their love of what is good; small men in it hear the (correction of) their errors. Hence it is said, that ‘ for the courses to be pursued by men the influence of music is great.’

25. In music we have the outcome and bestowal

[28] I

114 THE Li xi. BK. XVII.

(of what its framers felt); in ceremonies a return (for what their performers had received). Music expresses the delight in what produces it, and ceremonies lead the mind back to (the favours) which originate them. Music displays the virtue (of the framer); ceremonies are a return of the feelings (which led to them), as carrying the mind back to what originated them.

Music expresses the delight in what produces it, and ceremonies lead the mind back to (the favours) which originate them. Music displays the virtue (of the framer); ceremonies are a return of the feelings (which led to them), as carrying the mind back to what originated them.

26. What is called ‘a Grand carriage’ is one which is (the gift) of the son of Heaven; the flag with dragons, and a nine-scolloped border, was the banner (conferred by) the son of Heaven; that with the azure and black edging exhibited the precious tortoises, and was (also the gift of) the son of Heaven; and when these were followed by herds of oxen and sheep, they were the gifts bestowed on the feudal lords’.

Section III.

1. In music we have the expression. of feelings which do not admit of any change; in ceremonies that of principles which do not admit of any alteration. Music embraces what all equally share; ceremony distinguishes the things in which men differ. Hence the theory of music and ceremonies embraces the whole nature of man.

2. To go to the very root (of our feelings) and know the changes (which they undergo) is the province of music; to display sincerity and put away all that is hypocritical is the grand law of ceremonies. Ceremonies and music resemble the nature of Heaven and Earth, penetrate to the virtues of the spiritual Intelligences, bring down the spirits from above, and

' With this ends the sixth chapter of the Book, called Yo
Hsiang (4% $2), meaning the natural symbols of music.

SECT. Ill. yo xf. 115

raise up those whose seat is below. They give a sort of substantial embodiment of what is most subtle as well as material, and regulate the duties between father and son, ruler and subject.

3. Therefore, when the Great man uses and exhibits his ceremonies and music, Heaven and Earth will in response to him display their brilliant influences. They will act in happy union, and the energies (of nature), now expanding, now contracting, will proceed harmoniously. The genial airs from above and the responsive action below will overspread and nourish all things. Then plants and trees will grow luxuriantly; curling sprouts and buds will expand; the feathered and winged tribes will be active; horns and antlers will grow; insects will come to the light and revive; birds will breed and brood; the hairy tribes will mate and bring forth; the mammalia will have no abortions, and no eggs will be broken or addled,— and all will have to be ascribed to the power of music’.

4. When we speak of music we do not mean the notes emitted by the Hwang Aung, T4 Li, (and. the other musical pipes), the stringed instruments and the singing, or the (brandishing of the) shields and axes. These are but the small accessories of the music; and hence lads act as the pantomimes. (In

1 There is extravagance in this description. The Great man is the sage upon the throne. The imagination ofthe eloquent writer runs riot as he dwells on the article of his creed, that ‘Heaven, Earth, and Man’ are the ‘ Three Powers (= I) intended by their harmonious co-operation to make a happy and flourishing world. That would indeed be wonderful music which should bring about such a result, Compare the words of the Hebrew prophet in Hosea ii. 21, 22. Callery’s translation of the concluding clause is :—‘ Tout cela n’est autre chose que l’harmonie de la musique rejaillissant (sous tous les étres de la nature).’

p. 12

116 THE Li xt. BK. XVII.

the same way), the spreading of the mats, the disposing of the vases, and the arranging of the stands and dishes, with the movements in ascending and descending, are but the small accessories of ceremonies; and hence there are the (smaller) officers who direct them. The music-masters decide on the tunes and the pieces of poetry; and hence they have their places with their stringed instruments, and their faces directed to the north. The prayer-officers of the ancestral temple decide on the various ceremonies in it, and hence they keep behind the representatives of the deceased. Those who direct the mourning rites after the manner of the Shang dynasty’, have their places (for the same reason) behind the presiding mourner.

5. It is for this reason that the practice of virtue is held to be of superior worth, and the practice of any art of inferior; that complete virtue takes the first place, and the doing of anything, (however ingenious, only) the second. Therefore the ancient kings had their distinctions of superior and inferior, of first and last; and so they could frame their music and ceremonies for the whole kingdom?.

6. The marquis Wan of Wei® asked 3ze-hsia, saying, ‘When in my square-cut dark robes and cap I listen to the ancient music, I am only afraid that I shall go to sleep. When I listen to the music of

1 Which was distinguished for the plain simplicity of its observances,

* With this ends the seventh chapter, called Yo KAing (#4 iW)» ‘The attributes of Music.’

* The marquis Wan ruled in Wei from s.c. 425 to 387. He is said to have received the classical books from 93ze-hsia, when that disciple of Confucius must have been a hundred years old, and was blind, in B.c. 407.

SECT. JII. Yo xi, 117

Kang and Wei, I do not feel tired; let me ask why I should feel so differently under the old and the new music,’

He is said to have received the classical books from 93ze-hsia, when that disciple of Confucius must have been a hundred years old, and was blind, in B.c. 407.

SECT. JII. Yo xi, 117

Kang and Wei, I do not feel tired; let me ask why I should feel so differently under the old and the new music,’

7. 3ze-hsid replied, ‘In the old music, (the performers) advance and retire all together ; the music is harmonious, correct, and in large volume; the stringed instruments (above) and those made from gourd shells with the organs and their metal tongues (below), are all kept waiting for the striking of the drum. The music first strikes up at the sound of the drum; and when it ends, it is at the sound of the cymbals. The close of each part of the performance is regulated by the Hsiang’, and the rapidity of the motions by the Y4?. In (all) this the superior man speaks of, and follows, the way of antiquity. The character is cultivated; the family is regulated; and peace and order are secured throughout the kingdom. This is the manner of the ancient music.

8. ‘But now, in the new music, (the performers) advance and retire without any regular order; the music is corrupt to excess; there is no end to its vileness. Among the players there are dwarfs like monkeys, while boys and girls are mixed together, and there is no distinction between father and son. Such music can never be talked about, and cannot be said to be after the manner of antiquity. This is the fashion of the new music.

g. ‘What you ask about is music; and what you like is sound. Now music and sound are akin, but they are not the same.’

1 These are names of musical instruments, of which figures are given in the plates to the Xhien-lung edition; but there is much uncertainty about them.

118 THE Lf xf. BK. XVII.

10. The marquis asked him to explain, and 3zehsid replied, ‘In antiquity, Heaven and Earth acted according to their several natures, and the four seasons were what they ought to be. The people were virtuous, and all the cereals produced abundantly. There were no fevers or other diseases, and no apparitions or other prodigies. This was what we call “the period of great order.” After this arose the sages, and set forth the duties between father and son, and between ruler and subject, for the guidance of society. When these guiding rules were thus correctly adjusted, all under heaven, there was a great tranquillity; after which they framed with exactness the six accords (upper and lower), and gave harmony to the five notes (of the scale), and the singing to the lutes of the odes and praise-songs ; constituting what we call “the virtuous airs.” Such virtuous airs constituted what we call “ Music,” as is declared in the Book of Poetry (III, i, ode 7, 4),

‘Silently grew the fame of his virtue,
His virtue was highly intelligent ;
Highly intelligent, and of rare discrimination ;
Able to lead, able to rule,—
To rule over this great country,
Rendering a cordial submission, effecting a cordial
union.
When (the sway) came to king Wan,
His virtue left nothing to be dissatisfied with.
He received the blessing of God,
And it was extended to his descendants.”

11. ‘May I not say that what you love are the vile airs?’ The marquis said, ‘Let me ask where the vile airs come from?’ 3ze-hsid replied, ‘The

SECT. U1. yo kt. 119

airs of Kang go to a wild excess, and debauch the mind ; those of Sung tell of slothful indulgence and women, and drown the mind; those of Wei are vehement and rapid, and perplex the mind; and those of AAi are violent and depraved, and make the mind arrogant. The airs of those four states all stimulate libidinous desire, and are injurious to virtue ;—they should therefore not be used at sacrifices.

12. ‘It is said in the Book of Poetry (1V, i [Part ii], ode 5),

“In solemn unison (the instruments) give forth their
notes ;
Our ancestors will hearken to them.”

That solemn unison denotes the grave reverence and harmony of their notes :—with reverence, blended with harmony, what is there that cannot be done?

13. ‘A ruler has only to be careful of what he likes and dislikes. What the ruler likes, his ministers will practise; and what superiors do, their inferiors follow. This is the sentiment in the Book of Poetry (III, ii, ode 10, 6),

“To lead the people is very easy.”

14. ‘Seeing this, and after (the repose of the people was secured), the sages made hand-drums and drums, the stopper and the starter, the earthen whistle and the bamboo flute,—the six instruments which produced the soundsof their virtuous airs. After these came the bell, the sounding-stone, the organ with thirty-six pipes, and the large lute, to be played in harmony with them; the shields, axes, ox-tails, and plumes, brandished by the pantomimes in time and

120 THE Lf xt. BK, XVII.

tune. These they employed at the sacrifices in the temple of the former kings, at festivals in offering and receiving the pledge cup; in arranging the services of officers (in the temple) according to the rank due to each, as noble or mean, and in showing to future ages how they observed the order due to rank and to age.

15. ‘ The bells give out a clanging sound as a signal. The signal is recognised by all, and that recognition produces a martial enthusiasm. When the ruler hears the sound of the bell, he thinks of his officers of war.

‘ The sounding-stones give out a tinkling sound, as a summons to the exercise of discrimination. That discrimination may lead to the encountering of death. When the ruler hears the sounding-stone, he thinks of his officers who die in defence of his frontiers.

‘The stringed instruments give out a melancholy sound, which produces the thought of purity and fidelity, and awakens the determination of the mind. When the ruler hears the sound of the lute and cithern, he thinks of his officers who are bent on righteousness.

‘The instruments of bamboo give out a sound like that of overflowing waters, which suggests the idea of an assembly, the object of which is to collect the multitudes together. When the ruler hears the sound of his organs, pipes, and flutes, he thinks of his officers who gather the people together.

‘The drums and tambours give out their loud volume of sound, which excites the idea of movement, and tends to the advancing of the host. When the ruler hears the sounds of his drums and tam-

SECT. IIl. yo xt, 121

bours, he thinks of his leaders and commanders. When a superior man thus hears his musical instruments, he does not hear only the sounds which they emit. There are associated ideas which accompany these!.’

16. Pin-m4u Ai4* was sittting with Confucius. Confucius talked with him about music, and said, ‘ At (the performance of) the W4, how is it that the preliminary warning (of the drum) continues so long?’ The answer was, ‘To show (the king’s) anxiety that all his multitudes should be of one mind with him,’

‘ How is it that (when the performance has commenced) the singers drawl their notes so long, and the pantomimes move about till they perspire ?’ The answer was, ‘To show his apprehension that some (princes) might not come up in time for the engagement.’

‘How is it that the violent movement of the arms and stamping fiercely with the feet begin so soon ?’ The answer was, ‘ To show that the time for the engagement had arrived.’

‘ How is it that, (in the performance of the W4,) the pantomimes kneel on the ground with the right

? With this fifteenth paragraph ends the eighth chapter of the Book called simply ‘ Marquis Wan of Wei’s Chapter’ (i al FR ae E and the Xhien-lung editors say nothing more about it.

2 Pin-m4u Xia must have been a scholar of Confucius’ time, a master of music; but, so far as I have read, nothing is known about him beyond what appears here. The Aang Hung at the end of the paragraph was a historiographer of X4u, with whom Confucius is said to have studied music. The W4 was the dance and music which king WA is said to have made after his conquest of Shang or Yin.

122 THE Li xf. BK. XVII.

knee, while the left is kept up?’ The answer was, ‘There should be no kneeling in the Wa.’

‘ How is it that the words of the singers go on to speak eagerly of Shang?’ The answer was, ‘There should be no such sounds in the Wa.’

122 THE Li xf. BK. XVII.

knee, while the left is kept up?’ The answer was, ‘There should be no kneeling in the Wa.’

‘ How is it that the words of the singers go on to speak eagerly of Shang?’ The answer was, ‘There should be no such sounds in the Wa.’

‘But if there should be no such sound in the Wa, where does it come from?’ The answer was, ‘The officers (of the music) failed to hand it down correctly. If they did not do so, the aim of king Wa would have been reckless and wrong.’

The Master said, ‘ Yes, what I heard from Kang
Hung was to the same effect as what you now say.’

17. Pin-m4u Ai rose up, left his mat, and addressed Confucius, saying, ‘On the long-continued warning (of the drum) in the Wa, I have heard your instructions; but let me ask how it is that after that first delay there is another, and that a long one ?’

The Master said, ‘Sit down, and I will tell you. Music is a representation of accomplished facts. The pantomimes stand with their shields, each erect and firm asa hill, representing the attitude of king Wa. The violent movements of the arms and fierce stamping represent the enthusiasm of Thai-kung. The kneeling of all at the conclusion of the performance represents the government (of peace, instituted) by (the dukes of) Au and Sho.

18. ‘Moreover, the pantomimes in the first movement proceed towards the north (to imitate the marching of king Wd against Shang); in the second, they show the extinction of Shang ; in the third, they show the return march to the south; in the fourth, they show the laying out of the Southern states; in the fifth, they show how (the dukes of) K4u and Shao were severally put in charge of the states on the

SECT. III. yo xt.

left and right; in the sixth, they again unit point of starting to offer their homage to the son n of Heaven. Two men, one on each side of the performers, excite them with bells, and four times they stop and strike and thrust, showing the great awe with which (king W4) inspired the Middle states. Their advancing with these men on each side shows his eagerness to complete his helpful undertaking. The performers standing long together show how he waited for the arrival of the princes.

Their advancing with these men on each side shows his eagerness to complete his helpful undertaking. The performers standing long together show how he waited for the arrival of the princes.

19. ‘And have you alone not heard the accounts of Mi-yeh? King Wo, after the victory over Yin, proceeded to (the capital of) Shang; and before he descended from his chariot he invested the descendants of Hwang Ti with At; those of the Tt Yao with AQ; and those of the Tt Shun with AAan. When he had descended from it, he invested the descendant of the sovereign of Hsia with At; appointed the descendants of Yin to Sung; raised a mound over the grave of the king’s son, Pi-kan ; released the count of KAt from his imprisonment, and employed him to restore to their places the officers who were acquainted with the ceremonial usages of Shang. The common people were relieved from (the pressure) of the (bad) government which they had endured, and the emoluments of the multitude of (smaller) officers were doubled.

‘(The king then) crossed the Ho, and proceeded to the west. His horses were set free on the south of mount Hw, not to be yoked again. His oxen were dispersed in the wild of the Peach forest, not to be put to the carriages again. His chariots and coats of mail were smeared with blood, and despatched to his arsenals, not to be used again. The

124 THE Li xt, BK, XVII.

shields and spears were turned upside down and conveyed away, wrapped in tiger skins, which were styled “the appointed cases.” The leaders and commanders were then constituted feudal lords; and it was known throughout the kingdom that king Wd would have recourse to weapons of war no more},

20. ‘The army having been disbanded (the king commanded) a practice of archery at the colleges in the suburbs. At the college on the left (or east) they shot to the music of the Lt-sh4u?; at that on the right (or west) they shot to the music of the 34au-yii; and (from this time) the archery which consisted in going through (so many) buffcoats ceased, They wore (only) their civil robes and caps, with their ivory tokens of rank stuck in their girdles ; and the officers of the guard put off their swords. (The king) offered sacrifice in the Hall of Distinction, and the people learned to be filial. He gave audiences at court, and the feudal lords knew how they ought to demean themselves. He ploughed in the field set apart for that purpose, and the lords learned what should be the object of reverence to them (in their states). These five things constituted great lessons for the whole kingdom.’

21. In feasting the three (classes of the) old and the five (classes of the) experienced in the Great college, he himself (the son of Heaven) had his

1 See the account of all these proceedings after the victory of Mf in the Shf, V, iii, 9, though it is difficult to reconcile the two accounts in some of their details.

® See the KAu Li, Book 22, 32. The ode Lf-sh&u was used at the archery celebrations of the feudal lords, and is now lost. The 34u-yti is the last ode in the second Book of the Shih, Part I. It was used at contests where the king presided.

SECT. II. Yo xf. 125

breast bared and cut up the animals. He (also) presented to them the condiments and the cups. He wore the royal cap, and stood with a shield before him. In this way he taught the lords their brotherly duties.

22. ‘In this manner the ways of A4u penetrated everywhere, and the interaction of ceremonies and music was established ;—is it not right that in the performance of the Wa there should be that gradual and long-continuing action! ?’

23. A superior man says : ‘Ceremonies and music should not for a moment be neglected by any one. When one has mastered completely (the principles of) music, and regulates his heart and mind accordingly, the natural, correct, gentle, and honest heart is easily developed, and with this development of the heart comes joy. This joy goes on to a feeling of repose. This repose is long-continued. The man in this constant repose becomes (a sort of) Heaven. Heaven-like, (his action) is spirit-like. Heaven-like, he is believed without the use of words. Spirit-like, he is regarded with awe, without any display of rage. So it is, when one by his mastering of music regulates his mind and heart.

24. ‘When one has mastered completely (the principle of) ceremonies so as to regulate his person accordingly, he becomes grave and reverential. Grave and reverential, he comes to be regarded with awe. If the heart be for a moment without the feeling of harmony and joy, meanness and deceitfulness enter

1 The preceding seven paragraphs form the ninth chapter, which, like the former, simply bears the name of one of the parties in it, and is called ‘ The chapter of Pin-m4u Xia!’

126 THE Lf xf. BK. XVII.

it. If the outward demeanour be for a moment without gravity and respectfulness, indifference and rudeness show themselves.

25. ‘ Therefore the sphere in which music acts is the interior of man, and that of ceremonies is his exterior. The result of music is a perfect harmony, and that of ceremonies a perfect observance (of propriety). When one’s inner man is (thus) harmonious, and his outer man thus docile, the people behold his countenance and do not strive with him; they look ‘to his demeanour, and no feeling of indifference or rudeness arises in them. Thus it is that when virtue shines and acts within (a superior), the people are sure to accept (his rule), and hearken to him; and when the principles (of propriety) are displayed in his conduct, the people are sure (in the same way) to accept and obey him. Hence it is said, “Carry out perfectly ceremonies and music, and give them their outward manifestation and application, and under heaven nothing difficult to manage will appear.”’

Hence it is said, “Carry out perfectly ceremonies and music, and give them their outward manifestation and application, and under heaven nothing difficult to manage will appear.”’

26. Music springs from the inward movements (of the soul); ceremonies appear in the outward movements. (of the body). Hence it is the rule to make ceremonies as few and brief as possible, and to give to music its fullest development. This rule for ceremonies leads to the forward exhibition of them, and therein their beauty resides ; that for music leads to the introspective consideration of it, and therein its beauty resides. If ceremonies demanding this condensation were not performed with this forward exhibition of them, they would almost disappear altogether ; if music, demanding this full development, were not accompanied with this introspection, it would produce a dissipation of the mind. Thus it

SECT. Ill. yo xt. 127

is that to every ceremony there j 4s its ; proper response, and for music there is its introspection. When ceremonies are responded to, there arises pleasure ; and when music is accompanied with the" ‘right introspection, there arises the (feeling off): repose, ‘The responses of ceremony and the introspection of music spring from one and the same ‘idea, and have one and the same object. -*

27. Now music produces pleasure ;— what the nature of man cannot be without. That pleasure must arise from the modulation of the sounds, and have its embodiment in the movements (of the body); —such is the rule of humanity. These modulations and movements are the changes required by the nature, and they are found complete in music. Thus men will not be without the ministration of pleasure, and pleasure will not be without its embodiment, but if that embodiment be not suitably conducted, it is impossible that disorder should not arise. The ancient kings, feeling that they would feel ashamed (in the event of such disorder arising), appointed the tunes and words of the Y4 and the Sung to guide (in the music), so that its notes should give sufficient pleasure, without any intermixture of what was bad, while the words should afford sufficient material for consideration without causing weariness; and the bends and straight courses, the swell and diminution, the sharp angles, and soft melody throughout all its parts, should be sufficient to stir up in the minds of the hearers what was good in them, without inducing any looseness of thought or depraved air to be suggested. Such was the plan of the ancient kings when they framed their music.

28. Therefore in the ancestral temple, rulers and

128 THE Lf xt. BK. XVII.

Such was the plan of the ancient kings when they framed their music.

28. Therefore in the ancestral temple, rulers and

128 THE Lf xt. BK. XVII.

ministers, high and low, listen together to the music, and all is harmony and reverence ; at the district and village meetings of the heads of clans, old and young listen together to it, and all is harmony and deference. Within the gate of the family, fathers and sons, brothers and cousins, listen together to it, and all is harmony and affection. Thus in music there is a careful discrimination (of the voices) to blend them in unison so as to bring out their harmony ; there is a union of the (various) instruments to give ornamental effect to its different parts; and these parts are combined and performed so as to complete its elegance. In this way fathers and sons, rulers and subjects are united in harmony, and the people of the myriad states are associated in love. Such was the method of the ancient kings when they framed their music.

29. In listening to the singing of the Y4 and the Sung, the aims and thoughts receive an expansion. From the manner in which the shields and axes are held and brandished, and from the movements of the body in the practice with them, now turned up, now bent down, now retiring, now stretching forward, the carriage of the person receives gravity. From the way in which (the pantomimes) meve to their several places, and adapt themselves to the several parts (of the performance), the arrangement of their ranks is made correct, and their order in advancing and retiring is secured. In this way music becomes the lesson of Heaven and Earth, the regulator of true harmony, and what the nature of man cannot dispense with.

30. It was by music that the ancient kings gave elegant expression to their joy; by their armies and

SECT. III. yo kt. 129

axes that they gave the same to their anger. Hence their joy and anger always received their appropriate response. When they were joyful, all under heaven were joyful with them; when they were angry, the oppressive and disorderly feared them. In the ways of the ancient kings, ceremonies and music may be said to have attained perfection’.

Hence their joy and anger always received their appropriate response. When they were joyful, all under heaven were joyful with them; when they were angry, the oppressive and disorderly feared them. In the ways of the ancient kings, ceremonies and music may be said to have attained perfection’.

31. (Once), when 3ze-kung had an interview with the music-master Yi, he asked him, saying, ‘1 have heard that in the music and words belonging to it there is that which is specially appropriate to every man; what songs are specially appropriate to me ?’ The other replied, ‘I am but a poor musician, and am not worthy to be asked what songs are appropriate for particular individuals ;—allow me to repeat to you what I have heard, and you can select for yourself (what is appropriate to you). The generous and calm, the mild and correct, should sing the Sung; the magnanimous and calm, and those of wide penetration and sincere, the T& Y4 (Major Odes of the Kingdom); the courteous and self-restraining, the lovers of the rules of propriety, the Hsiao Ya (Minor Odes of the Kingdom); the correct, upright, and calm, the discriminating and humble, the Fang (Airs of the States); the determinedly upright, but yet gentle and loving, the Shang; and the mild and honest, but yet capable of decision, the AAi. The object of this singing is for one to make himself right, and then to display his virtue. When he has thus put

1 From paragraph 23 to this forms the tenth chapter of the Book, which has the name of Yo Hw& (44 Av), ‘The Transforming Operation of Music,’ supplementing and summarising all the previous chapters.

(28) K

130 THE Lf xi. BK, XVII.

himself in a condition to act, Heaven and Earth respond to him, the four seasons revolve in harmony with him, the stars and constellations observe their proper laws, and all things are nourished and thrive.

32. ‘What are called the Shang! were the airs and words transmitted from the five Tis ; and having been remembered by the people of Shang, we call them the Shang. What are called the AZ were transmitted from the three dynasties; and having been remembered by the people of K4i, we call them the Khi. He who is versed in the airs of the Shang will generally be found to manifest decision in the conduct of affairs. He who is versed in the airs of the A4%i, when he is attracted by the prospect of profit, will yet give place to others. To manifest decision in the conduct of affairs is bravery; to give place to others in the prospect of gain is righteousness. Who, without singing these songs, can assure himself that he will always preserve such bravery and righteousness ?

33. ‘In singing, the high notes rise as if they were borne aloft; the low descend as if they were falling to the ground; the turns resemble a thing broken off; and the finale resembles (the breaking) of a willow tree; emphatical notes seem made by the