Fetching
One moment.
Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1There are still nine things (to be described), and four of them belong to the Grand festive entertainments. When you know these, though your lot may lie among the channeled fields, if you carry them into practice, you will become wise as sages. ‘When one ruler is visiting another, they bow to each other, each courteously declining to take the precedence, and then enter the gate. As soon as they have done so, the instruments of music, suspended from their frames, strike up. They then bow and give place to each other again, and ascend to the hall; and when they have gone up, the music stops. In the court below, the dances Hsiang and Wa are performed to the music of the flute, and that of Hsia proceeds in due order with (the brandishing of feathers and) fifes. (After this), the stands with their offerings are set out, the various ceremonies and musical performances go on in regular order, and the array of officers provided discharge their functions. In this way the superior man perceives the loving regard (which directs the entertainment). They move forward in perfect circles; they return and form again the squares. The bells of the equipages are tuned to the A#4i-kZi; when the guest goes out they sing the Yung; when the things are being taken away, they sing the KAainyti; and thus the superior man (sees that) there is not a single thing for which there is not its proper ceremonial usage. The striking up of the instruments of metal, when they enter the gate, serves to BK. XXV. KUNG-Ni YEN KU. 275 indicate their good feeling; the singing of the Khing Mido, when they have gone up to the hall, shows the virtue (they should cultivate); the performance of the Hsiang to the flute in the court below, reminds them of the events (of history). Thus the superior men of antiquity did not need to set forth their views to one another in words; it was enough for them to show them in their music and ceremonies.’ 10. The Master said, ‘Ceremonial usages are (the prescriptions of) reason; music is thedefinite limitation (of harmony). The superior man makes no movement without (a ground of) reason, and does nothing without its definite limitation. He who is not versed in the odes will err in his employment of the usages, and he who is not versed in music will be but an indifferent employer of them. He whose virtue is slender will vainly perform the usages.’ 11. The Master said, ‘The determinate measures are according to the rules; and the embellishments of them are also so; but the carrying them into practice depends on the men.’ 12, 3ze-kung crossed over the mat and replied, ‘Allow me to ask whether even Khwei was ignorant (of the ceremonial usages)! ?’
2?’ 13. The Master said, ‘Was he not one of the ancients? Yes, he was one of them. To be versed in the ceremonial usages, and not versed in music, we call being poorly furnished. To be versed in the usages and not versed in music, we call being onesided. Now Khwei was noted for his acquaintance with music, and not for his acquaintance with cere- 1 Khwei was Shun’s Director of Music. See the Shf, II, i, 24. T2 276 THE Lf xt. BK. XXV. monies, and therefore his name has been transmitted with that account of him (which your question implies). But he was one of the men of antiquity.’ 14. 3ze-kang asked about government. The Master said, ‘Sze, did I not instruct you on that subject before? The superior man who is well acquainted with ceremonial usages and music has only to take and apply them (in order to practise government). 15. 3ze-kang again put the question, and the Master said, ‘Sze, do you think that the stools and mats must be set forth, the hall ascended and descended, the cups filled and offered, the pledge-cup presented and returned, before we can speak of ceremonial usages? Do you think that there must be the movements of the performers in taking up their positions, the brandishing of ‘the plumes and fifes, the sounding of the bells and drums before we can speak of music? To speak and to carry into execution what you have spoken is ceremony; to act and to give and receive pleasure from what you do is music. The ruler who vigorously pursues these two things may well stand with his face to the south, for thus will great peace and order be secured all under heaven; the feudal lords will come to his court; all things will obtain their proper development and character ; and no single officer will dare to shrink from the discharge of his functions. Where such ceremony prevails, all government is well ordered ; where it is neglected, all falls into disorder and confusion. A house made by a good (though unassisted) eye will yet have the corner of honour, and the steps on the east for the host to ascend by; every mat have its upper and lower end ; every chariot have BK. XXV. KUNG-Ni YEN KU. 277
3A house made by a good (though unassisted) eye will yet have the corner of honour, and the steps on the east for the host to ascend by; every mat have its upper and lower end ; every chariot have BK. XXV. KUNG-Ni YEN KU. 277 its right side and left; walkers follow one another, and those who stand observe a certain order :—such were the right rules of antiquity. If an apartment were made without the corner of honour and the steps on the east, there would be confusion in the hall and apartment. If mats had not their upper and lower ends, there would be confusion among the occupants of them ; if carriages were made without their left side and right, there would be confusion in their seats ; if people did not follow one another in walking, there would be confusion on the roads; if people observed no order in standing, there would be disorder in the places they occupy. Anciently the sage Tts and intelligent kings and the feudal lords, in making a distinction between noble and mean, old and young, remote and near, male and female, outside and inside, did not presume to allow any to transgress the regular rule they had to observe, but all proceeded in the path which has been indicated.’ 16. When the three disciples had heard these words from the Master, they saw clearly as if a film had been removed from their eyes. BOOK XXVI. KHUNG-3ZE HSIEN KU OR CONFUCIUS AT HOME AT LEISURE". 1. Confucius being at home at leisure, with 3zehsid by his side, the latter said, ‘With reference to the lines in the Book of Poetry (III, ii, ode 8, 1), “The happy and courteous sovereign Is the father and mother of the people ;” I beg to ask what the sovereign must be, who can be called “the parent of the people.”’ Confucius said, ‘Ah! the parent of the people! He must have penetrated to the fundamental principles of ceremonies and music, till he has reached the five extreme points to which they conduct, and the three that have no positive existence, and be able to exhibit these all under heaven; and when evil is impending in any part of the kingdom, he must have a foreknowledge of it:—such an one is he whom we denominate ‘the parent of the people.’ 2. §ze-hsid said, ‘I have thus heard (your explanation) of the name “ parent of the people ;” allow me to ask what “the five extreme points” (that you mention) mean.’ Confucius said, ‘The furthest aim of the mind has also its furthest expression in the Book of Poetry. The furthest expression of the Book of Poetry has also its furthest embodiment in the ceremonial usages. The furthest embodiment * See the introductory notice, vol. xxvii, page 41. BK. XXVI. KHUNG-3ZE HSIEN KU. 279
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.
1There are still nine things (to be described), and four of them belong to the Grand festive entertainments. When you know these, though your lot may lie among the channeled fields, if you carry them into practice, you will become wise as sages. ‘When one ruler is visiting another, they bow to each other, each courteously declining to take the precedence, and then enter the gate. As soon as they have done so, the instruments of music, suspended from their frames, strike up. They then bow and give place to each other again, and ascend to the hall; and when they have gone up, the music stops. In the court below, the dances Hsiang and Wa are performed to the music of the flute, and that of Hsia proceeds in due order with (the brandishing of feathers and) fifes. (After this), the stands with their offerings are set out, the various ceremonies and musical performances go on in regular order, and the array of officers provided discharge their functions. In this way the superior man perceives the loving regard (which directs the entertainment). They move forward in perfect circles; they return and form again the squares. The bells of the equipages are tuned to the A#4i-kZi; when the guest goes out they sing the Yung; when the things are being taken away, they sing the KAainyti; and thus the superior man (sees that) there is not a single thing for which there is not its proper ceremonial usage. The striking up of the instruments of metal, when they enter the gate, serves to BK. XXV. KUNG-Ni YEN KU. 275 indicate their good feeling; the singing of the Khing Mido, when they have gone up to the hall, shows the virtue (they should cultivate); the performance of the Hsiang to the flute in the court below, reminds them of the events (of history). Thus the superior men of antiquity did not need to set forth their views to one another in words; it was enough for them to show them in their music and ceremonies.’ 10. The Master said, ‘Ceremonial usages are (the prescriptions of) reason; music is thedefinite limitation (of harmony). The superior man makes no movement without (a ground of) reason, and does nothing without its definite limitation. He who is not versed in the odes will err in his employment of the usages, and he who is not versed in music will be but an indifferent employer of them. He whose virtue is slender will vainly perform the usages.’ 11. The Master said, ‘The determinate measures are according to the rules; and the embellishments of them are also so; but the carrying them into practice depends on the men.’ 12, 3ze-kung crossed over the mat and replied, ‘Allow me to ask whether even Khwei was ignorant (of the ceremonial usages)! ?’
2?’ 13. The Master said, ‘Was he not one of the ancients? Yes, he was one of them. To be versed in the ceremonial usages, and not versed in music, we call being poorly furnished. To be versed in the usages and not versed in music, we call being onesided. Now Khwei was noted for his acquaintance with music, and not for his acquaintance with cere- 1 Khwei was Shun’s Director of Music. See the Shf, II, i, 24. T2 276 THE Lf xt. BK. XXV. monies, and therefore his name has been transmitted with that account of him (which your question implies). But he was one of the men of antiquity.’ 14. 3ze-kang asked about government. The Master said, ‘Sze, did I not instruct you on that subject before? The superior man who is well acquainted with ceremonial usages and music has only to take and apply them (in order to practise government). 15. 3ze-kang again put the question, and the Master said, ‘Sze, do you think that the stools and mats must be set forth, the hall ascended and descended, the cups filled and offered, the pledge-cup presented and returned, before we can speak of ceremonial usages? Do you think that there must be the movements of the performers in taking up their positions, the brandishing of ‘the plumes and fifes, the sounding of the bells and drums before we can speak of music? To speak and to carry into execution what you have spoken is ceremony; to act and to give and receive pleasure from what you do is music. The ruler who vigorously pursues these two things may well stand with his face to the south, for thus will great peace and order be secured all under heaven; the feudal lords will come to his court; all things will obtain their proper development and character ; and no single officer will dare to shrink from the discharge of his functions. Where such ceremony prevails, all government is well ordered ; where it is neglected, all falls into disorder and confusion. A house made by a good (though unassisted) eye will yet have the corner of honour, and the steps on the east for the host to ascend by; every mat have its upper and lower end ; every chariot have BK. XXV. KUNG-Ni YEN KU. 277
3A house made by a good (though unassisted) eye will yet have the corner of honour, and the steps on the east for the host to ascend by; every mat have its upper and lower end ; every chariot have BK. XXV. KUNG-Ni YEN KU. 277 its right side and left; walkers follow one another, and those who stand observe a certain order :—such were the right rules of antiquity. If an apartment were made without the corner of honour and the steps on the east, there would be confusion in the hall and apartment. If mats had not their upper and lower ends, there would be confusion among the occupants of them ; if carriages were made without their left side and right, there would be confusion in their seats ; if people did not follow one another in walking, there would be confusion on the roads; if people observed no order in standing, there would be disorder in the places they occupy. Anciently the sage Tts and intelligent kings and the feudal lords, in making a distinction between noble and mean, old and young, remote and near, male and female, outside and inside, did not presume to allow any to transgress the regular rule they had to observe, but all proceeded in the path which has been indicated.’ 16. When the three disciples had heard these words from the Master, they saw clearly as if a film had been removed from their eyes. BOOK XXVI. KHUNG-3ZE HSIEN KU OR CONFUCIUS AT HOME AT LEISURE". 1. Confucius being at home at leisure, with 3zehsid by his side, the latter said, ‘With reference to the lines in the Book of Poetry (III, ii, ode 8, 1), “The happy and courteous sovereign Is the father and mother of the people ;” I beg to ask what the sovereign must be, who can be called “the parent of the people.”’ Confucius said, ‘Ah! the parent of the people! He must have penetrated to the fundamental principles of ceremonies and music, till he has reached the five extreme points to which they conduct, and the three that have no positive existence, and be able to exhibit these all under heaven; and when evil is impending in any part of the kingdom, he must have a foreknowledge of it:—such an one is he whom we denominate ‘the parent of the people.’ 2. §ze-hsid said, ‘I have thus heard (your explanation) of the name “ parent of the people ;” allow me to ask what “the five extreme points” (that you mention) mean.’ Confucius said, ‘The furthest aim of the mind has also its furthest expression in the Book of Poetry. The furthest expression of the Book of Poetry has also its furthest embodiment in the ceremonial usages. The furthest embodiment * See the introductory notice, vol. xxvii, page 41. BK. XXVI. KHUNG-3ZE HSIEN KU. 279
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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