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Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1‘ 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.’
2122 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.
3Their 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.
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.
1‘ 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.’
2122 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.
3Their 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.
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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