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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
14. 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).’ 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,’
2He 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),
3‘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 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.
14. 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).’ 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,’
2He 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),
3‘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 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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