Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1® See the KAu Li, Book 22, 32. The ode Lf-sh&u was used at the archery celebrations of the feudal lords, and is now lost. The 34u-yti is the last ode in the second Book of the Shih, Part I. It was used at contests where the king presided. SECT. II. Yo xf. 125 breast bared and cut up the animals. He (also) presented to them the condiments and the cups. He wore the royal cap, and stood with a shield before him. In this way he taught the lords their brotherly duties. 22. ‘In this manner the ways of A4u penetrated everywhere, and the interaction of ceremonies and music was established ;—is it not right that in the performance of the Wa there should be that gradual and long-continuing action! ?’ 23. A superior man says : ‘Ceremonies and music should not for a moment be neglected by any one. When one has mastered completely (the principles of) music, and regulates his heart and mind accordingly, the natural, correct, gentle, and honest heart is easily developed, and with this development of the heart comes joy. This joy goes on to a feeling of repose. This repose is long-continued. The man in this constant repose becomes (a sort of) Heaven. Heaven-like, (his action) is spirit-like. Heaven-like, he is believed without the use of words. Spirit-like, he is regarded with awe, without any display of rage. So it is, when one by his mastering of music regulates his mind and heart. 24. ‘When one has mastered completely (the principle of) ceremonies so as to regulate his person accordingly, he becomes grave and reverential. Grave and reverential, he comes to be regarded with awe. If the heart be for a moment without the feeling of harmony and joy, meanness and deceitfulness enter 1 The preceding seven paragraphs form the ninth chapter, which, like the former, simply bears the name of one of the parties in it, and is called ‘ The chapter of Pin-m4u Xia!’ 126 THE Lf xf. BK. XVII. it. If the outward demeanour be for a moment without gravity and respectfulness, indifference and rudeness show themselves. 25. ‘ Therefore the sphere in which music acts is the interior of man, and that of ceremonies is his exterior. The result of music is a perfect harmony, and that of ceremonies a perfect observance (of propriety). When one’s inner man is (thus) harmonious, and his outer man thus docile, the people behold his countenance and do not strive with him; they look ‘to his demeanour, and no feeling of indifference or rudeness arises in them. Thus it is that when virtue shines and acts within (a superior), the people are sure to accept (his rule), and hearken to him; and when the principles (of propriety) are displayed in his conduct, the people are sure (in the same way) to accept and obey him. Hence it is said, “Carry out perfectly ceremonies and music, and give them their outward manifestation and application, and under heaven nothing difficult to manage will appear.”’
2Hence it is said, “Carry out perfectly ceremonies and music, and give them their outward manifestation and application, and under heaven nothing difficult to manage will appear.”’ 26. Music springs from the inward movements (of the soul); ceremonies appear in the outward movements. (of the body). Hence it is the rule to make ceremonies as few and brief as possible, and to give to music its fullest development. This rule for ceremonies leads to the forward exhibition of them, and therein their beauty resides ; that for music leads to the introspective consideration of it, and therein its beauty resides. If ceremonies demanding this condensation were not performed with this forward exhibition of them, they would almost disappear altogether ; if music, demanding this full development, were not accompanied with this introspection, it would produce a dissipation of the mind. Thus it SECT. Ill. yo xt. 127 is that to every ceremony there j 4s its ; proper response, and for music there is its introspection. When ceremonies are responded to, there arises pleasure ; and when music is accompanied with the" ‘right introspection, there arises the (feeling off): repose, ‘The responses of ceremony and the introspection of music spring from one and the same ‘idea, and have one and the same object. -* 27. Now music produces pleasure ;— what the nature of man cannot be without. That pleasure must arise from the modulation of the sounds, and have its embodiment in the movements (of the body); —such is the rule of humanity. These modulations and movements are the changes required by the nature, and they are found complete in music. Thus men will not be without the ministration of pleasure, and pleasure will not be without its embodiment, but if that embodiment be not suitably conducted, it is impossible that disorder should not arise. The ancient kings, feeling that they would feel ashamed (in the event of such disorder arising), appointed the tunes and words of the Y4 and the Sung to guide (in the music), so that its notes should give sufficient pleasure, without any intermixture of what was bad, while the words should afford sufficient material for consideration without causing weariness; and the bends and straight courses, the swell and diminution, the sharp angles, and soft melody throughout all its parts, should be sufficient to stir up in the minds of the hearers what was good in them, without inducing any looseness of thought or depraved air to be suggested. Such was the plan of the ancient kings when they framed their music. 28. Therefore in the ancestral temple, rulers and 128 THE Lf xt. BK. XVII.
3Such was the plan of the ancient kings when they framed their music. 28. Therefore in the ancestral temple, rulers and 128 THE Lf xt. BK. XVII. ministers, high and low, listen together to the music, and all is harmony and reverence ; at the district and village meetings of the heads of clans, old and young listen together to it, and all is harmony and deference. Within the gate of the family, fathers and sons, brothers and cousins, listen together to it, and all is harmony and affection. Thus in music there is a careful discrimination (of the voices) to blend them in unison so as to bring out their harmony ; there is a union of the (various) instruments to give ornamental effect to its different parts; and these parts are combined and performed so as to complete its elegance. In this way fathers and sons, rulers and subjects are united in harmony, and the people of the myriad states are associated in love. Such was the method of the ancient kings when they framed their music. 29. In listening to the singing of the Y4 and the Sung, the aims and thoughts receive an expansion. From the manner in which the shields and axes are held and brandished, and from the movements of the body in the practice with them, now turned up, now bent down, now retiring, now stretching forward, the carriage of the person receives gravity. From the way in which (the pantomimes) meve to their several places, and adapt themselves to the several parts (of the performance), the arrangement of their ranks is made correct, and their order in advancing and retiring is secured. In this way music becomes the lesson of Heaven and Earth, the regulator of true harmony, and what the nature of man cannot dispense with. 30. It was by music that the ancient kings gave elegant expression to their joy; by their armies and SECT. III. yo kt. 129 axes that they gave the same to their anger. Hence their joy and anger always received their appropriate response. When they were joyful, all under heaven were joyful with them; when they were angry, the oppressive and disorderly feared them. In the ways of the ancient kings, ceremonies and music may be said to have attained perfection’.
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® See the KAu Li, Book 22, 32. The ode Lf-sh&u was used at the archery celebrations of the feudal lords, and is now lost. The 34u-yti is the last ode in the second Book of the Shih, Part I. It was used at contests where the king presided. SECT. II. Yo xf. 125 breast bared and cut up the animals. He (also) presented to them the condiments and the cups. He wore the royal cap, and stood with a shield before him. In this way he taught the lords their brotherly duties. 22. ‘In this manner the ways of A4u penetrated everywhere, and the interaction of ceremonies and music was established ;—is it not right that in the performance of the Wa there should be that gradual and long-continuing action! ?’ 23. A superior man says : ‘Ceremonies and music should not for a moment be neglected by any one. When one has mastered completely (the principles of) music, and regulates his heart and mind accordingly, the natural, correct, gentle, and honest heart is easily developed, and with this development of the heart comes joy. This joy goes on to a feeling of repose. This repose is long-continued. The man in this constant repose becomes (a sort of) Heaven. Heaven-like, (his action) is spirit-like. Heaven-like, he is believed without the use of words. Spirit-like, he is regarded with awe, without any display of rage. So it is, when one by his mastering of music regulates his mind and heart. 24. ‘When one has mastered completely (the principle of) ceremonies so as to regulate his person accordingly, he becomes grave and reverential. Grave and reverential, he comes to be regarded with awe. If the heart be for a moment without the feeling of harmony and joy, meanness and deceitfulness enter 1 The preceding seven paragraphs form the ninth chapter, which, like the former, simply bears the name of one of the parties in it, and is called ‘ The chapter of Pin-m4u Xia!’ 126 THE Lf xf. BK. XVII. it. If the outward demeanour be for a moment without gravity and respectfulness, indifference and rudeness show themselves. 25. ‘ Therefore the sphere in which music acts is the interior of man, and that of ceremonies is his exterior. The result of music is a perfect harmony, and that of ceremonies a perfect observance (of propriety). When one’s inner man is (thus) harmonious, and his outer man thus docile, the people behold his countenance and do not strive with him; they look ‘to his demeanour, and no feeling of indifference or rudeness arises in them. Thus it is that when virtue shines and acts within (a superior), the people are sure to accept (his rule), and hearken to him; and when the principles (of propriety) are displayed in his conduct, the people are sure (in the same way) to accept and obey him. Hence it is said, “Carry out perfectly ceremonies and music, and give them their outward manifestation and application, and under heaven nothing difficult to manage will appear.”’
2Hence it is said, “Carry out perfectly ceremonies and music, and give them their outward manifestation and application, and under heaven nothing difficult to manage will appear.”’ 26. Music springs from the inward movements (of the soul); ceremonies appear in the outward movements. (of the body). Hence it is the rule to make ceremonies as few and brief as possible, and to give to music its fullest development. This rule for ceremonies leads to the forward exhibition of them, and therein their beauty resides ; that for music leads to the introspective consideration of it, and therein its beauty resides. If ceremonies demanding this condensation were not performed with this forward exhibition of them, they would almost disappear altogether ; if music, demanding this full development, were not accompanied with this introspection, it would produce a dissipation of the mind. Thus it SECT. Ill. yo xt. 127 is that to every ceremony there j 4s its ; proper response, and for music there is its introspection. When ceremonies are responded to, there arises pleasure ; and when music is accompanied with the" ‘right introspection, there arises the (feeling off): repose, ‘The responses of ceremony and the introspection of music spring from one and the same ‘idea, and have one and the same object. -* 27. Now music produces pleasure ;— what the nature of man cannot be without. That pleasure must arise from the modulation of the sounds, and have its embodiment in the movements (of the body); —such is the rule of humanity. These modulations and movements are the changes required by the nature, and they are found complete in music. Thus men will not be without the ministration of pleasure, and pleasure will not be without its embodiment, but if that embodiment be not suitably conducted, it is impossible that disorder should not arise. The ancient kings, feeling that they would feel ashamed (in the event of such disorder arising), appointed the tunes and words of the Y4 and the Sung to guide (in the music), so that its notes should give sufficient pleasure, without any intermixture of what was bad, while the words should afford sufficient material for consideration without causing weariness; and the bends and straight courses, the swell and diminution, the sharp angles, and soft melody throughout all its parts, should be sufficient to stir up in the minds of the hearers what was good in them, without inducing any looseness of thought or depraved air to be suggested. Such was the plan of the ancient kings when they framed their music. 28. Therefore in the ancestral temple, rulers and 128 THE Lf xt. BK. XVII.
3Such was the plan of the ancient kings when they framed their music. 28. Therefore in the ancestral temple, rulers and 128 THE Lf xt. BK. XVII. ministers, high and low, listen together to the music, and all is harmony and reverence ; at the district and village meetings of the heads of clans, old and young listen together to it, and all is harmony and deference. Within the gate of the family, fathers and sons, brothers and cousins, listen together to it, and all is harmony and affection. Thus in music there is a careful discrimination (of the voices) to blend them in unison so as to bring out their harmony ; there is a union of the (various) instruments to give ornamental effect to its different parts; and these parts are combined and performed so as to complete its elegance. In this way fathers and sons, rulers and subjects are united in harmony, and the people of the myriad states are associated in love. Such was the method of the ancient kings when they framed their music. 29. In listening to the singing of the Y4 and the Sung, the aims and thoughts receive an expansion. From the manner in which the shields and axes are held and brandished, and from the movements of the body in the practice with them, now turned up, now bent down, now retiring, now stretching forward, the carriage of the person receives gravity. From the way in which (the pantomimes) meve to their several places, and adapt themselves to the several parts (of the performance), the arrangement of their ranks is made correct, and their order in advancing and retiring is secured. In this way music becomes the lesson of Heaven and Earth, the regulator of true harmony, and what the nature of man cannot dispense with. 30. It was by music that the ancient kings gave elegant expression to their joy; by their armies and SECT. III. yo kt. 129 axes that they gave the same to their anger. Hence their joy and anger always received their appropriate response. When they were joyful, all under heaven were joyful with them; when they were angry, the oppressive and disorderly feared them. In the ways of the ancient kings, ceremonies and music may be said to have attained perfection’.
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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