Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1I. yo xt. 93 When the mind is moved to sorrow, the sound is sharp and fading away; when it is moved to pleasure, the sound is slow and gentle; when it is moved to joy, the sound is exclamatory and soon disappears ; when it is moved to anger, the sound is coarse and fierce ; when it is moved to reverence, the sound is straightforward, with an indication of humility ; when it is moved to love, the sound is harmonious and soft. These six peculiarities of sound are not natural’; they indicate the impressions produced by (external) things. ; On this account the ancient kings were) watchful in regard to the things by which the mind was affected. 3. And so (they instituted) ceremonies to direct men’s aims aright; music to give harmony to their ° voices ; laws to unify their conduct; and punishments to guard against their tendencies to evil. The end to which ceremonies, music, punishments, and laws conduct is one; they are the instruments by which ' the minds of the people are assimilated, and good | order in government is made to appear. ~ | 4. All modulations of the voice spring from the minds of men. When the feelings are moved within, they are manifested in the sounds of the voice ; and when those sounds are combined so as to form compositions, we have what are called airs. Hence, the airs of an age of good ¢ order indicate composure and enjoymenta: The airs of an age of disorder indicate dissatisfaction and anger, and its government is per- 1 Or, ‘are not the nature;’ that is, the voice does not naturally, when the mind is not moved, from without itself, give such peculiar expressions of feeling. What belongs to man by his nature is simply the faculty of articulate speech, slumbering until he is awakened by his sensations and perceptions. 94 THE Lf xt. BK. XVIT. versely bad. The airs of a state going to ruin are __ expressive of sorrow and (troubled) thoughts, ’ There is an interaction between the words and airs (of the people) and the character of their government. 5. (The note) kung represents the ruler; shang, the ministers; io, the people; 4ih, affairs; and yi, things. If there be no disorder or irregularity in these five notes, there will be no want of harmony in the state. If kung 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 io be irregular, (the air) expresses anxiety; the people are dissatisfied. If ih be irregular, (the air) expresses sorrow ; affairs are strained. If yii 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}.
2If 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}. 6. The airs of Kang? and Wei were those of an age of disorder, showing that those states were near such an abandoned condition. The airs near the river Pf, at the mulberry forest, were those of a state going to ruin’. The government (of Wei) was in a state of dissipation, and the people were unsettled, calumniating their superiors, and pursuing their private aims beyond the possibility of restraint. 1 On those notes, see Chinese Classics, vol. iii, page 48. * See Confucian Analects, XV, 10, 6 8 This place was in the state of Wei. See the ridiculous incident which gave rise to this account of the airs in Sze-m& Khien’s monograph on music, pages 13, 14. SECT. I. yo xf. 95 7. All modulations of sound take their rise from the mind of man; and music is the intercommunication of them in their relations and differences. Hence, even beasts know sound, but not its modulations ; and the masses of the common peoplé know the modulations, but they do not know music. It is only the superior man who can (really) know music. 8. On this account we must discriminate sounds in order to know the airs; the airs in order to know the music ; and the music in order to know (the character of) the government. Having attained to this, we are fully provided with the methods of good order. Hence with him who does not know the sounds we cannot speak about the airs, and with him who does not know the airs we cannot speak about the music. The knowledge of music leads to the subtle springs that underlie the rules of ceremony. He who has apprehended both ceremonies and music may be pronounced to be a possessor of virtue. Virtue means | realisation (in one’s self)". 5 9. Hence the greatest achievements of music were not in the perfection of the airs; the (efficacy) of the ceremonies in the sacrificial offerings was not in the exquisiteness of the flavours. In the lutes for the Khing Mido the strings were of red (boiled) silk, and the holes were wide apart; one lute began, and ? Virtue 29) and getting or realising (#4) have the same name or pronunciation (teh) in Chinese. This concluding sentence, as Callery points out, is only a sort of pun on that common name. And yet ‘virtue’ is the ‘ realisation’ in one’s self ‘of what is good.’ The next paragraph expands the writer’s thought. The greatest achievement of music in its ancient perfection was the softening and refining of the character, and that of the services of the temple was the making men reverent, filial, and brotherly. i 96 THE Lf xt. BK. XVII. (only) three others joined it ; there was much melody _ hot brought out. In the ceremonies of the great
3i 96 THE Lf xt. BK. XVII. (only) three others joined it ; there was much melody _ hot brought out. In the ceremonies of the great sacrifices, the dark-coloured liquor took precedence, and on the stands were uncooked fish, while the grand soup had no condiments: there was much flavour left undeveloped. 10. Thus we see that the ancient kings, in their institution of ceremonies and music, did not seek how fully they could satisfy the desires of the appetite and of the ears and eyes; but they intended to teach the people to regulate their likings and dislikings, and to bring them back to the normal course of humanity. a’ 11. It belongs to the nature of man, as from Heaven, to be still at his birth. His activity shows © ' itself as he is acted on by external things, and developes the desires incident to his nature. Things come to him more and more, and his knowledge is _, increased. Then arise the manifestations of liking and disliking. When these are not regulated by anything within, and growing knowledge leads more astray without, he cannot come back to himself, and — his Heavenly principle is extinguished. | 12. Now there is no end of the things by which man is affected; and when his likings and dislikings are not subject to regulation (from within), he is changed into the nature of things as they come before him ; that is, he stifles the voice of Heavenly prin- | _ ciple within, and gives the utmost indulgence to the | desires by which men may be possessed. /On this we have the rebellious and deceitful heart, with licentious and violent disorder. The strong press upon the weak ; the many are cruel to the few; the knowing impose upon the dull; the bold make it bitter for SEcT. I. yo xt. 97 the timid; the diseased are not nursed; the old and young, orphans and solitaries are neglected :—such is the great disorder that ensues. 13. Therefore the ancient kings, when they instituted their ceremonies and music, regulated them by consideration of the requirements of humanity. By the sackcloth worn for parents, the wailings, and the weepings, they defined the terms of the mourning rites. By the bells, drums, shields, and axes, they introduced harmony into their seasons of rest and enjoyment. By marriage, capping, and the assumption of the hair-pin, they maintained the separation that should exist between male and female. By the archery gatherings in the districts, and the feastings at the meetings of princes, they provided for the correct maintenance of friendly intercourse. 14. Ceremonies afforded the defined expression for the (affections of the) people’s minds; music secured the harmonious utterance of their voices ; the laws of government were designed to promote the performance (of the ceremonies and music); and punishments, to guard against the violation of them. When ceremonies, music, laws, and punishments had everywhere full course, without irregularity or collision, the method of kingly rule was -complete?.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1I. yo xt. 93 When the mind is moved to sorrow, the sound is sharp and fading away; when it is moved to pleasure, the sound is slow and gentle; when it is moved to joy, the sound is exclamatory and soon disappears ; when it is moved to anger, the sound is coarse and fierce ; when it is moved to reverence, the sound is straightforward, with an indication of humility ; when it is moved to love, the sound is harmonious and soft. These six peculiarities of sound are not natural’; they indicate the impressions produced by (external) things. ; On this account the ancient kings were) watchful in regard to the things by which the mind was affected. 3. And so (they instituted) ceremonies to direct men’s aims aright; music to give harmony to their ° voices ; laws to unify their conduct; and punishments to guard against their tendencies to evil. The end to which ceremonies, music, punishments, and laws conduct is one; they are the instruments by which ' the minds of the people are assimilated, and good | order in government is made to appear. ~ | 4. All modulations of the voice spring from the minds of men. When the feelings are moved within, they are manifested in the sounds of the voice ; and when those sounds are combined so as to form compositions, we have what are called airs. Hence, the airs of an age of good ¢ order indicate composure and enjoymenta: The airs of an age of disorder indicate dissatisfaction and anger, and its government is per- 1 Or, ‘are not the nature;’ that is, the voice does not naturally, when the mind is not moved, from without itself, give such peculiar expressions of feeling. What belongs to man by his nature is simply the faculty of articulate speech, slumbering until he is awakened by his sensations and perceptions. 94 THE Lf xt. BK. XVIT. versely bad. The airs of a state going to ruin are __ expressive of sorrow and (troubled) thoughts, ’ There is an interaction between the words and airs (of the people) and the character of their government. 5. (The note) kung represents the ruler; shang, the ministers; io, the people; 4ih, affairs; and yi, things. If there be no disorder or irregularity in these five notes, there will be no want of harmony in the state. If kung 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 io be irregular, (the air) expresses anxiety; the people are dissatisfied. If ih be irregular, (the air) expresses sorrow ; affairs are strained. If yii 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}.
2If 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}. 6. The airs of Kang? and Wei were those of an age of disorder, showing that those states were near such an abandoned condition. The airs near the river Pf, at the mulberry forest, were those of a state going to ruin’. The government (of Wei) was in a state of dissipation, and the people were unsettled, calumniating their superiors, and pursuing their private aims beyond the possibility of restraint. 1 On those notes, see Chinese Classics, vol. iii, page 48. * See Confucian Analects, XV, 10, 6 8 This place was in the state of Wei. See the ridiculous incident which gave rise to this account of the airs in Sze-m& Khien’s monograph on music, pages 13, 14. SECT. I. yo xf. 95 7. All modulations of sound take their rise from the mind of man; and music is the intercommunication of them in their relations and differences. Hence, even beasts know sound, but not its modulations ; and the masses of the common peoplé know the modulations, but they do not know music. It is only the superior man who can (really) know music. 8. On this account we must discriminate sounds in order to know the airs; the airs in order to know the music ; and the music in order to know (the character of) the government. Having attained to this, we are fully provided with the methods of good order. Hence with him who does not know the sounds we cannot speak about the airs, and with him who does not know the airs we cannot speak about the music. The knowledge of music leads to the subtle springs that underlie the rules of ceremony. He who has apprehended both ceremonies and music may be pronounced to be a possessor of virtue. Virtue means | realisation (in one’s self)". 5 9. Hence the greatest achievements of music were not in the perfection of the airs; the (efficacy) of the ceremonies in the sacrificial offerings was not in the exquisiteness of the flavours. In the lutes for the Khing Mido the strings were of red (boiled) silk, and the holes were wide apart; one lute began, and ? Virtue 29) and getting or realising (#4) have the same name or pronunciation (teh) in Chinese. This concluding sentence, as Callery points out, is only a sort of pun on that common name. And yet ‘virtue’ is the ‘ realisation’ in one’s self ‘of what is good.’ The next paragraph expands the writer’s thought. The greatest achievement of music in its ancient perfection was the softening and refining of the character, and that of the services of the temple was the making men reverent, filial, and brotherly. i 96 THE Lf xt. BK. XVII. (only) three others joined it ; there was much melody _ hot brought out. In the ceremonies of the great
3i 96 THE Lf xt. BK. XVII. (only) three others joined it ; there was much melody _ hot brought out. In the ceremonies of the great sacrifices, the dark-coloured liquor took precedence, and on the stands were uncooked fish, while the grand soup had no condiments: there was much flavour left undeveloped. 10. Thus we see that the ancient kings, in their institution of ceremonies and music, did not seek how fully they could satisfy the desires of the appetite and of the ears and eyes; but they intended to teach the people to regulate their likings and dislikings, and to bring them back to the normal course of humanity. a’ 11. It belongs to the nature of man, as from Heaven, to be still at his birth. His activity shows © ' itself as he is acted on by external things, and developes the desires incident to his nature. Things come to him more and more, and his knowledge is _, increased. Then arise the manifestations of liking and disliking. When these are not regulated by anything within, and growing knowledge leads more astray without, he cannot come back to himself, and — his Heavenly principle is extinguished. | 12. Now there is no end of the things by which man is affected; and when his likings and dislikings are not subject to regulation (from within), he is changed into the nature of things as they come before him ; that is, he stifles the voice of Heavenly prin- | _ ciple within, and gives the utmost indulgence to the | desires by which men may be possessed. /On this we have the rebellious and deceitful heart, with licentious and violent disorder. The strong press upon the weak ; the many are cruel to the few; the knowing impose upon the dull; the bold make it bitter for SEcT. I. yo xt. 97 the timid; the diseased are not nursed; the old and young, orphans and solitaries are neglected :—such is the great disorder that ensues. 13. Therefore the ancient kings, when they instituted their ceremonies and music, regulated them by consideration of the requirements of humanity. By the sackcloth worn for parents, the wailings, and the weepings, they defined the terms of the mourning rites. By the bells, drums, shields, and axes, they introduced harmony into their seasons of rest and enjoyment. By marriage, capping, and the assumption of the hair-pin, they maintained the separation that should exist between male and female. By the archery gatherings in the districts, and the feastings at the meetings of princes, they provided for the correct maintenance of friendly intercourse. 14. Ceremonies afforded the defined expression for the (affections of the) people’s minds; music secured the harmonious utterance of their voices ; the laws of government were designed to promote the performance (of the ceremonies and music); and punishments, to guard against the violation of them. When ceremonies, music, laws, and punishments had everywhere full course, without irregularity or collision, the method of kingly rule was -complete?.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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