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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1BK. 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
2The 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- LS (
3~~ 34. Music appeared in the Grand Beginning (of all things), and ceremonies had their place on the com- LS ( 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?.
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.
1BK. 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
2The 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- LS (
3~~ 34. Music appeared in the Grand Beginning (of all things), and ceremonies had their place on the com- LS ( 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?.
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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