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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1When ceremonies, music, laws, and punishments had everywhere full course, without irregularity or collision, the method of kingly rule was -complete?. 1 With this paragraph ends the first portion of the treatise on music, called Yo Pan ( \, or ‘Fundamental Principles in Music.’ The Xh’ien-lung editors divide it into four chapters :—the first setting forth that music takes its character as good or bad from the mind of man, as affected by what is external to it; the second, that the character of the external things affecting the mind is determined by government as good or bad; the third, that the ceremonies and music of the ancient kings were designed to (23] Hi a 98 THE Lf xf. BK, XVII. 15. Similarity and union are the aim of music; difference and distinction, that of ceremony. From union comes mutual affection; from difference, mutual respect. , Where music prevails, we find a weak coalescence ; where ceremony prevails, a tendency to separation.| It is the business of the two to blend people’s feelings and give elegance to their outward manifestations. 16. Through the perception of right produced by ceremony, came the degrees of the noble and the mean; through the union of culture arising from music, harmony between high and low. By the exhibition of what was to be liked and what was to be disliked, a distinction was made between the worthy and unworthy. When violence was prevented by punishments, and the worthy were raised to rank, the operation of government was made impartial. Then came benevolence in the love (of the people), and righteousness in the correction (of their errors) ; and in this way good government held its course. 17. Music comes from within, and ceremonies from without. Music, coming from within, produces the stillness (of the mind); ceremonies, coming from without, produce the elegancies (of manner). .. The highest style of music is sure to be distinguished by its ease; the highest style of elegance, by its undemonstrativeness. : 18. Let music attain its full results, and there would be no dissatisfactions (in the mind); let ceremony do so, and there would be no quarrels. 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
2When 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.
3The 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.
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.
1When ceremonies, music, laws, and punishments had everywhere full course, without irregularity or collision, the method of kingly rule was -complete?. 1 With this paragraph ends the first portion of the treatise on music, called Yo Pan ( \, or ‘Fundamental Principles in Music.’ The Xh’ien-lung editors divide it into four chapters :—the first setting forth that music takes its character as good or bad from the mind of man, as affected by what is external to it; the second, that the character of the external things affecting the mind is determined by government as good or bad; the third, that the ceremonies and music of the ancient kings were designed to (23] Hi a 98 THE Lf xf. BK, XVII. 15. Similarity and union are the aim of music; difference and distinction, that of ceremony. From union comes mutual affection; from difference, mutual respect. , Where music prevails, we find a weak coalescence ; where ceremony prevails, a tendency to separation.| It is the business of the two to blend people’s feelings and give elegance to their outward manifestations. 16. Through the perception of right produced by ceremony, came the degrees of the noble and the mean; through the union of culture arising from music, harmony between high and low. By the exhibition of what was to be liked and what was to be disliked, a distinction was made between the worthy and unworthy. When violence was prevented by punishments, and the worthy were raised to rank, the operation of government was made impartial. Then came benevolence in the love (of the people), and righteousness in the correction (of their errors) ; and in this way good government held its course. 17. Music comes from within, and ceremonies from without. Music, coming from within, produces the stillness (of the mind); ceremonies, coming from without, produce the elegancies (of manner). .. The highest style of music is sure to be distinguished by its ease; the highest style of elegance, by its undemonstrativeness. : 18. Let music attain its full results, and there would be no dissatisfactions (in the mind); let ceremony do so, and there would be no quarrels. 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
2When 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.
3The 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.
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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