| | 乐记: |
凡音之起，由人心生也。人心之动，物使之然也。感于物而动，故形于声。声相应，故生变；变成方，谓之音；比音而乐之，及干戚羽旄，谓之乐。 |
| Yue Ji: |
All the modulations of the voice arise from the mind, and the various affections of the mind are produced by things (external to it). The affections thus produced are manifested in the sounds that are uttered. Changes are produced by the way in which those sounds respond to one another; and those changes constitute what we call the modulations of the voice. The combination' of those modulated sounds, so as to give pleasure, and the (direction in harmony with them of the) shields and axes, and of the plumes and ox-tails, constitutes what we call music. |
| | 乐记: |
乐者，音之所由生也；其本在人心之感于物也。是故其哀心感者，其声噍以杀。其乐心感者，其声嘽以缓。其喜心感者，其声发以散。其怒心感者，其声粗以厉。其敬心感者，其声直以廉。其爱心感者，其声和以柔。六者，非性也，感于物而后动。是故先王慎所以感之者。故礼以道其志，乐以和其声，政以一其行，刑以防其奸。礼乐刑政，其极一也；所以同民心而出治道也。 |
| Yue Ji: |
Music is (thus) the production of the modulations of the voice, and its source is in the affections of the mind as it is influenced by (external) things. When the mind is moved to sorrow, the sound is sharp and fading away; when it is moved to pleasure, the sound is slow and gentle; when it is moved to joy, the sound is exclamatory and soon disappears; when it is moved to anger, the sound is coarse and fierce; when it is moved to reverence, the sound is straightforward, with an indication of humility; when it is moved to love, the sound is harmonious and soft. These six peculiarities of sound are not natural'; they indicate the impressions produced by (external) things. On this account the ancient kings were watchful in regard to the things by which the mind was affected. And so (they instituted) ceremonies to direct men's aims aright; music to give harmony to their voices; laws to unify their conduct; and punishments to guard against their tendencies to evil. The end to which ceremonies, music, punishments, and laws conduct is one; they are the instruments by which the minds of the people are assimilated, and good order in government is made to appear. |
| | 乐记: |
凡音者，生人心者也。情动于中，故形于声。声成文，谓之音。是故治世之音安以乐，其政和。乱世之音怨以怒，其政乖。亡国之音哀以思，其民困。 |
| Yue Ji: |
All modulations of the voice spring from the minds of men. When the feelings are moved within, they are manifested in the sounds of the voice; and when those sounds are combined so as to form compositions, we have what are called airs. Hence, the airs of an age of good order indicate composure and enjoyment. The airs of an age of disorder indicate dissatisfaction and anger, and its government is perversely bad. The airs of a state going to ruin are expressive of sorrow and (troubled) thought. |
| | 乐记: |
声音之道，与政通矣。宫为君，商为臣，角为民，徵为事，羽为物。五者不乱，则无怗懘之音矣。宫乱则荒，其君骄。商乱则陂，其官坏。角乱则忧，其民怨。徵乱则哀，其事勤。羽乱则危，其财匮。五者皆乱，迭相陵，谓之慢。如此，则国之灭亡无日矣。 |
| Yue Ji: |
There is an interaction between the words and airs (of the people) and the character of their government. (The note) gong represents the ruler; shang, the ministers; jiao, the people; zhi, affairs; and yu, things. If there be no disorder or irregularity in these five notes, there will be no want of harmony in the state. If gong be irregular, (the air) is wild and broken; the ruler of the state is haughty. If shang be irregular, (the air) is jerky; the offices of the state are decayed. If jiao be irregular, (the air) expresses anxiety; the people are dissatisfied. If zhi be irregular, (the air) expresses sorrow; affairs are strained. If yu be irregular, (the air) is expressive of impending ruin; the resources (of the state) are exhausted. If the five notes are all irregular, and injuriously interfere with one another, they indicate a state of insolent disorder; and the state where this is the case will at no distant day meet with extinction and ruin. |
| | |
郑卫之音，乱世之音也，比于慢矣。桑间濮上之音，亡国之音也，其政散，其民流，诬上行私而不可止也。 |
| |
The airs of Zheng and Wei were those of an age of disorder, showing that those states were near such an abandoned condition. The airs near the river Pu, at the mulberry forest, were those of a state going to ruin. The government (of Wei) was in a state of dissipation, and the people were unsettled, calumniating their superiors, and pursuing their private aims beyond the possibility of restraint. |
| | 乐记: |
凡音者，生于人心者也。乐者，通伦理者也。是故知声而不知音者，禽兽是也；知音而不知乐者，众庶是也。唯君子为能知乐。是故审声以知音，审音以知乐，审乐以知政，而治道备矣。是故不知声者不可与言音，不知音者不可与言乐。知乐则几于礼矣。礼乐皆得，谓之有德。德者得也。 |
| Yue Ji: |
All modulations of sound take their rise from the mind of man; and music is the intercommunication of them in their relations and differences. Hence, even beasts know sound, but not its modulations, and the masses of the common people know the modulations, but they do not know music. It is only the superior man who can (really) know music. On this account we must discriminate sounds in order to know the airs; the airs in order to know the music; and the music in order to know (the character of) the government. Having attained to this, we are fully provided with the methods of good order. Hence with him who does not know the sounds we cannot speak about the airs, and with him who does not know the airs we cannot speak about the music. The knowledge of music leads to the subtle springs that underlie the rules of ceremony. He who has apprehended both ceremonies and music may be pronounced to be a possessor of virtue. Virtue means realisation (in one's self). |
| | 乐记: |
是故乐之隆，非极音也。食飨之礼，非致味也。清庙之瑟，朱弦而疏越，壹倡而三叹，有遗音者矣。大飨之礼，尚玄酒而俎腥鱼，大羹不和，有遗味者矣。是故先王之制礼乐也，非以极口腹耳目之欲也，将以教民平好恶而反人道之正也。 |
| Yue Ji: |
Hence the greatest achievements of music were not in the perfection of the airs; the (efficacy) of the ceremonies in the sacrificial offerings was not in the exquisiteness of the flavours. In the lute's for the Qing Miao the strings were of red (boiled) silk, and the holes were wide apart; one lute began, and (only) three others joined it; there was much melody not brought out. In the ceremonies of the great sacrifices, the dark-coloured liquor took precedence, and on the stands were uncooked fish, while the grand soup had no condiments: there was much flavour left undeveloped. Thus we see that the ancient kings, in their institution of ceremonies and music, did not seek how fully they could satisfy the desires of the appetite and of the ears and eyes; but they intended to teach the people to regulate their likings and dislikings, and to bring them back to the normal course of humanity. |
| | 乐记: |
人生而静，天之性也；感于物而动，性之欲也。物至知知，然后好恶形焉。好恶无节于内，知诱于外，不能反躬，天理灭矣。 |
| Yue Ji: |
It belongs to the nature of man, as from Heaven, to be still at his birth. His activity shows itself as he is acted on by external things, and developes the desires incident to his nature. Things come to him more and more, and his knowledge is increased. Then arise the manifestations of liking and disliking. When these are not regulated by anything within, and growing knowledge leads more astray without, he cannot come back to himself, and his Heavenly principle is extinguished. |
| | 乐记: |
夫物之感人无穷，而人之好恶无节，则是物至而人化物也。人化物也者，灭天理而穷人欲者也。于是有悖逆诈伪之心，有淫泆作乱之事。是故强者胁弱，众者暴寡，知者诈愚，勇者苦怯，疾病不养，老幼孤独不得其所，此大乱之道也。 |
| Yue Ji: |
Now there is no end of the things by which man is affected; and when his likings and dislikings are not subject to regulation (from within), he is changed into the nature of things as they come before him; that is, he stifles the voice of Heavenly principle within, and gives the utmost indulgence to the desires by which men may be possessed. On this we have the rebellious and deceitful heart, with licentious and violent disorder. The strong press upon the weak; the many are cruel to the few; the knowing impose upon the dull; the bold make it bitter for the timid; the diseased are not nursed; the old and young, orphans and solitaries are neglected - such is the great disorder that ensues. |
| | 乐记: |
是故先王之制礼乐，人为之节；衰麻哭泣，所以节丧纪也；钟鼓干戚，所以和安乐也；昏姻冠笄，所以别男女也；射乡食飨，所以正交接也。礼节民心，乐和民声，政以行之，刑以防之，礼乐刑政，四达而不悖，则王道备矣。 |
| Yue Ji: |
Therefore the ancient kings, when they instituted their ceremonies and music, regulated them by consideration of the requirements of humanity. By the sackcloth worn for parents, the wailings, and the weepings, they defined the terms of the mourning rites. By the bells, drums, shields, and axes, they introduced harmony into their seasons of rest and enjoyment. By marriage, capping, and the assumption of the hair-pin, they maintained the separation that should exist between male and female. By the archery gatherings in the districts, and the feastings at the meetings of princes, they provided for the correct maintenance of friendly intercourse. Ceremonies afforded the defined expression for the (affections of the) people's minds; music secured the harmonious utterance of their voices; the laws of government were designed to promote the performance (of the ceremonies and music); and punishments, to guard against the violation of them. When ceremonies, music, laws, and punishments had everywhere full course, without irregularity or collision, the method of kingly rule was complete. |
| | 乐记: |
乐者为同，礼者为异。同则相亲，异则相敬，乐胜则流，礼胜则离。合情饰貌者礼乐之事也。礼义立，则贵贱等矣；乐文同，则上下和矣；好恶著，则贤不肖别矣。刑禁暴，爵举贤，则政均矣。仁以爱之，义以正之，如此，则民治行矣。 |
| Yue Ji: |
Similarity and union are the aim of music; difference and distinction, that of ceremony. From union comes mutual affection; from difference, mutual respect. Where music prevails, we find a weak coalescence; where ceremony prevails, a tendency to separation. It is the business of the two to blend people's feelings and give elegance to their outward manifestations. Through the perception of right produced by ceremony, came the degrees of the noble and the mean; through the union of culture arising from music, harmony between high and low. By the exhibition of what was to be liked and what was to be disliked, a distinction was made between the worthy and unworthy. When violence was prevented by punishments, and the worthy were raised to rank, the operation of government was made impartial. Then came benevolence in the love (of the people), and righteousness in the correction (of their errors); and in this way good government held its course. |
| | 乐记: |
乐由中出，礼自外作。乐由中出故静，礼自外作故文。大乐必易，大礼必简。乐至则无怨，礼至则不争。揖让而治天下者，礼乐之谓也。暴民不作，诸侯宾服，兵革不试，五刑不用，百姓无患，天子不怒，如此，则乐达矣。合父子之亲，明长幼之序，以敬四海之内天子如此，则礼行矣。 |
| Yue Ji: |
Music comes from within, and ceremonies from without. Music, coming from within, produces the stillness (of the mind); ceremonies, coming from without, produce the elegancies (of manner). The highest style of music is sure to be distinguished by its ease; the highest style of elegance, by its undemonstrativeness. Let music attain its full results, and there would be no dissatisfactions (in the mind); let ceremony do so, and there would be no quarrels. When bowings and courtesies marked the government of the kingdom, there would be what might be described as music and ceremony indeed. Violent oppression of the people would not arise; the princes would appear submissively at court as guests; there would be no occasion for the weapons of war, and no employment of the five punishments; the common people would have no distresses, and the son of Heaven no need to be angry - such a state of things would be an universal music. When the son of Heaven could secure affection between father and son, could illustrate the orderly relation between old and young, and make mutual respect prevail all within the four seas, then indeed would ceremony (be seen) as power. |
| | 乐记: |
大乐与天地同和，大礼与天地同节。和故百物不失，节故祀天祭地，明则有礼乐，幽则有鬼神。如此，则四海之内，合敬同爱矣。礼者殊事合敬者也；乐者异文合爱者也。礼乐之情同，故明王以相沿也。故事与时并，名与功偕。 |
| Yue Ji: |
In music of the grandest style there is the same harmony that prevails between heaven and earth; in ceremonies of the grandest form there is the same graduation that exists between heaven and earth. Through the harmony, things do not fail (to fulfil their ends); through the graduation we have the sacrifices to heaven and those to earth. In the visible sphere there are ceremonies and music; in the invisible, the spiritual agencies. These things being so, in all within the four seas, there must be mutual respect and love. The occasions and forms of ceremonies are different, but it is the same feeling of respect (which they express). The styles of musical pieces are different, but it is the same feeling of love (which they promote). The essential nature of ceremonies and music being the same, the intelligent kings, one after another, continued them as they found them. The occasions and forms were according to the times when they were made; the names agreed with the merit which they commemorated. |
| | 乐记: |
故钟鼓管磬，羽龠干戚，乐之器也。屈伸俯仰，缀兆舒疾，乐之文也。簠簋俎豆，制度文章，礼之器也。升降上下，周还裼袭，礼之文也。故知礼乐之情者能作，识礼乐之文者能述。作者之谓圣，述者之谓明；明圣者，述作之谓也。 |
| Yue Ji: |
Hence the bell, the drum, the flute, and the sounding-stone; the plume, the fife, the shield, and the axe are the instruments of music; the curvings and stretchings (of the body), the bending down and lifting up (of the head); and the evolutions and numbers (of the performers), with the slowness or rapidity (of their movements), are its elegant accompaniments. The dishes, round and square, the stands, the standing dishes, the prescribed rules and their elegant variations, are the instruments of ceremonies; the ascending and descending, the positions high and low, the wheelings about, and the changing of robes, are their elegant accompaniments. Therefore they who knew the essential nature of ceremonies and music could frame them; and they who had learned their elegant accompaniments could hand them down. The framers may be pronounced sage; the transmitters, intelligent. Intelligence and sagehood are other names for transmitting and inventing. |
| | 乐记: |
乐者，天地之和也；礼者，天地之序也。和故百物皆化；序故群物皆别。乐由天作，礼以地制。过制则乱，过作则暴。明于天地，然后能兴礼乐也。 |
| Yue Ji: |
Music is (an echo of) the harmony between heaven and earth; ceremonies reflect the orderly distinctions (in the operations of) heaven and earth. From that harmony all things receive their being; to those orderly distinctions they owe the differences between them. Music has its origin from heaven; ceremonies take their form from the appearances of earth. If the imitation of those appearances were carried to excess, confusion (of ceremonies) would appear; if the framing of music were carried to excess, it would be too vehement. Let there be an intelligent understanding of the nature and interaction of (heaven and earth), and there will be the ability to practise well both ceremonies and music. |
| | 乐记: |
论伦无患，乐之情也；欣喜欢爱，乐之官也。中正无邪，礼之质也，庄敬恭顺。礼之制也。若夫礼乐之施于金石，越于声音，用于宗庙社稷，事乎山川鬼神，则此所与民同也。 |
| Yue Ji: |
The blending together without any mutual injuriousness (of the sentiments and the airs on the different instruments) forms the essence of music; and the exhilaration of joy and the glow of affection are its business. Exactitude and correctness, without any inflection or deviation, form the substance of ceremonies, while gravity, respectfulness, and a humble consideration are the rules for their discharge. As to the employment of instruments of metal and stone in connexion with these ceremonies and this music, the manifestation of them by the voice and its modulations, the use of them in the ancestral temple, and at the altars to the spirits of the land and grain, and in sacrificing to (the spirits of) the hills and streams, and to the general spiritual agencies (in nature) - these are (external demonstrations), natural even to the people. |
| | 乐记: |
王者功成作乐，治定制礼。其功大者其乐备，其治辩者其礼具。干戚之舞非备乐也，孰亨而祀非达礼也。五帝殊时，不相沿乐；三王异世，不相袭礼。乐极则忧，礼粗则偏矣。及夫敦乐而无忧，礼备而不偏者，其唯大圣乎？ |
| Yue Ji: |
When the (ancient) kings had accomplished their undertakings, they made their music (to commemorate them); when they had established their 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. The times of the five Dis 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, could be the work only of the great sage. |
| | 乐记: |
天高地下，万物散殊，而礼制行矣。流而不息，合同而化，而乐兴焉。春作夏长，仁也；秋敛冬藏，义也。仁近于乐，义近于礼。乐者敦和，率神而从天，礼者别宜，居鬼而从地。故圣人作乐以应天，制礼以配地。礼乐明备，天地官矣。 |
| Yue Ji: |
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 righteousness. Benevolence is akin to music, and righteousness to ceremonies. 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. |
| | 乐记: |
天尊地卑，君臣定矣。卑高已陈，贵贱位矣。动静有常，小大殊矣。方以类聚，物以群分，则性命不同矣。在天成象，在地成形；如此，则礼者天地之别也。 |
| Yue Ji: |
(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 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 distinction, between heaven and earth. |
| | 乐记: |
地气上齐，天气下降，阴阳相摩，天地相荡，鼓之以雷霆，奋之以风雨，动之以四时，暖之以日月，而百化兴焉。如此则乐者天地之和也。 |
| Yue Ji: |
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. |
| | 乐记: |
化不时则不生，男女无辨则乱升；天地之情也。及夫礼乐之极乎天而蟠乎地，行乎阴阳而通乎鬼神；穷高极远而测深厚。乐著大始，而礼居成物。著不息者天也，著不动者地也。一动一静者天地之间也。故圣人曰礼乐云。 |
| Yue Ji: |
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. 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. Music appeared in the Grand Beginning (of all things), and ceremonies had their place on the completion 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. |
| | 乐记: |
昔者，舜作五弦之琴以歌南风，夔始制乐以赏诸侯。 |
| Yue Ji: |
Anciently, Shun made the lute with five strings, and used it in singing the Nan Feng. Kui 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. |
| | 乐记: |
故天子之为乐也，以赏诸侯之有德者也。德盛而教尊，五谷时熟，然后赏之以乐。故其治民劳者，其舞行缀远；其治民逸者，其舞行缀短。故观其舞，知其德；闻其谥，知其行也。 |
| Yue Ji: |
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 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. |
| | 乐记: |
《大章》，章之也。《咸池》，备矣。《韶》，继也。《夏》，大也。殷周之乐，尽矣。 |
| Yue Ji: |
The Da Zhang expressed the brilliance (of its author's virtue); the Xian Chi, the completeness (of its author's); the Shao showed how (its author) continued (the virtue of his predecessor); the Xia, the greatness (of its author's virtue); the music of Yin and Zhou embraced every admirable quality. |
| | 乐记: |
天地之道，寒暑不时则疾，风雨不节则饥。教者，民之寒暑也；教不时则伤世。事者民之风雨也；事不节则无功。然则先王之为乐也。以法治也，善则行象德矣。 |
| Yue Ji: |
In the interaction of heaven and earth, if cold and heat do not come at the proper seasons, illnesses arise (among the people); if wind and rain do not come in their due proportions, famine ensues. The instructions (of their superiors) are the people's cold and heat; if they are not what the time requires, an injury is done to society. The affairs (of their superiors) are the people's wind and rain; if they are not properly regulated, they have no success. In accordance with this, the object of the ancient kings in their practice of music was to bring their government into harmony with those laws (of heaven and earth). If it was good, then the conduct (of the people) was like the virtue (of their superiors). |
| | 乐记: |
夫豢豕为酒，非以为祸也，而狱讼益繁，则酒之流生祸也。是故先王因为酒礼，壹献之礼，宾主百拜，终日饮酒而不得醉焉；此先王之所以备酒祸也。故酒食者所以合欢也；乐者所以象德也；礼者所以缀淫也。 |
| Yue Ji: |
(The feast on) grain-fed animals, with the adjunct of drinking, was not intended to produce evil, and yet cases of litigation are more numerous in consequence of it - it is the excessive drinking which produces the evil. Therefore the former kings framed the rules to regulate the drinking. Where there is (but) one presentation of the cup (at one time), guest and host may bow to each other a hundred times, and drink together all the day without getting drunk. This was the way in which those kings provided against evil consequences. Such feasts served for the enjoyment of the parties at them. The music was intended to illustrate virtue; the ceremonies to restrain excess. |
| | 乐记: |
是故先王有大事，必有礼以哀之；有大福，必有礼以乐之。哀乐之分，皆以礼终。乐也者，圣人之所乐也，而可以善民心，其感人深，其移风易俗，故先王著其教焉。 |
| Yue Ji: |
Hence the former kings, on occasions of great sorrow, had their rules according to which they expressed their grief; and on occasions of great happiness, they had their rules by which they expressed their pleasure. The manifestations, whether of grief or joy, were all bounded by the limits of these rules. In music the sages found pleasure, and (saw that) it could be used to make the hearts of the people good. Because of the deep influence which it exerts on a man, and the change which it produces in manners and customs, the ancient kings appointed it as one of the subjects of instruction. |
| | 乐记: |
夫民有血气心知之性，而无哀乐喜怒之常，应感起物而动，然后心术形焉。是故志微噍杀之音作，而民思忧。嘽谐慢易、繁文简节之音作，而民康乐。粗厉猛起、奋末广贲之音作，而民刚毅。廉直、劲正、庄诚之音作，而民肃敬。宽裕肉好、顺成和动之音作，而民慈爱。流辟邪散、狄成涤滥之音作，而民淫乱。 |
| Yue Ji: |
Now, in the nature of men there are both the energy of their physical powers and the intelligence of the mind; but for their (affections of) grief, pleasure, joy, and anger there are no invariable rules. They are moved according to the external objects which excite them, and then there ensues the manifestation of the various faculties of the mind. Hence, when a (ruler's) aims are small, notes that quickly die away characterise the music, and the people's thoughts are sad; when he is generous, harmonious, and of a placid and easy temper, the notes are varied and elegant, with frequent changes, and the people are satisfied and pleased; when he is coarse, violent, and excitable, the notes, vehement at first and distinct in the end, are full and bold throughout the piece, and the people are resolute and daring; when he is pure and straightforward, strong and correct, the notes are grave and expressive of sincerity, and the people are self-controlled and respectful; when he is magnanimous, placid, and kind, the notes are natural, full, and harmonious, and the people are affectionate and loving; when he is careless, disorderly, perverse, and dissipated, the notes are tedious and ill-regulated, and the people proceed to excesses and disorder. |
| | 乐记: |
是故先王本之情性，稽之度数，制之礼义。合生气之和，道五常之行，使之阳而不散，阴而不密，刚气不怒，柔气不慑，四畅交于中而发作于外，皆安其位而不相夺也；然后立之学等，广其节奏，省其文采，以绳德厚。律小大之称，比终始之序，以象事行。使亲疏贵贱、长幼男女之理，皆形见于乐，故曰：“乐观其深矣。” |
| Yue Ji: |
Therefore the ancient kings (in framing their music), laid its foundations in the feelings and nature of men; they examined (the notes) by the measures (for the length and quality of each); and adapted it to express the meaning of the ceremonies (in which it was to be used). They (thus) brought it into harmony with the energy that produces life, and to give expression to the performance of the five regular constituents of moral worth. They made it indicate that energy in its Yang or phase of vigour, without any dissipation of its power, and also in its Yin or phase of remission, without the vanishing of its power. The strong phase showed no excess like that of anger, and the weak no shrinking like that of pusillanimity. These four characteristics blended harmoniously in the minds of men, and were similarly manifested in their conduct. Each occupied quietly in its proper place, and one did not interfere injuriously with another. After this they established schools for (teaching their music), and different grades (for the learners). They marked most fully the divisions of the pieces, and condensed into small compass the parts and variations giving beauty and elegance, in order to regulate and increase the inward virtue (of the learners). They gave laws for the great and small notes according to their names, and harmonised the order of the beginning and the end, to represent the doing of things. Thus they made the underlying principles of the relations between the near and distant relatives, the noble and mean, the old and young, males and females, all to appear manifestly in the music. Hence it is said that 'in music we must endeavour to see its depths.' |
| | 乐记: |
土敝则草木不长，水烦则鱼鳖不大，气衰则生物不遂，世乱则礼慝而乐淫。是故其声哀而不庄，乐而不安，慢易以犯节，流湎以忘本。广则容奸，狭则思欲，感条畅之气而灭平和之德。是以君子贱之也。 |
| Yue Ji: |
When the soil is worn out, the grass and trees on it do. not grow well. When water is often troubled, the fish and tortoises in it do not become large. When the energy (of nature) is decayed, its production of things does not proceed freely. In an age of disorder, ceremonies are forgotten and neglected, and music becomes licentious. In such a case the notes are melancholy but without gravity, or joyous without repose. There is remissness (in ceremonies) and the violation of them is easy. One falls into such a state of dissoluteness that he forgets the virtue properly belonging to his nature. In great matters he is capable of treachery and villainy; in small matters he becomes greedy and covetous. There is a diminution in him of the enduring, genial forces of nature, and an extinction of the virtue of satisfaction and harmony. On this account the Superior man despises such (a style of music and ceremonies). |
| | 乐记: |
凡奸声感人，而逆气应之；逆气成象，而淫乐兴焉。正声感人，而顺气应之；顺气成象，而和乐兴焉。倡和有应，回邪曲直，各归其分；而万物之理，各以其类相动也。是故君子反情以和其志，比类以成其行。奸声乱色，不留聪明；淫乐慝礼，不接心术。惰慢邪辟之气不设于身体，使耳目鼻口、心知百体皆由顺正以行其义。 |
| Yue Ji: |
Whenever notes that are evil and depraved affect men, a corresponding evil spirit responds to them (from within); and when this evil spirit accomplishes its manifestations, licentious music is the result. Whenever notes that are correct affect men, a corresponding correct spirit responds to them (from within); and when this correct spirit accomplishes its manifestations, harmonious music is the result. The initiating cause and the result correspond to each other. The round and the deflected, the crooked and the straight, have each its own category; and such is the character of all things, that they affect one another severally according to their class. Hence the superior man returns to the (good) affections (proper to his nature) in order to bring his will into harmony with them, and compares the different qualities (of actions) in order to perfect his conduct. Notes that are evil and depraved, and sights leading to disorder, and licentiousness, are not allowed to affect his ears or eyes. Licentious music and corrupted ceremonies are not admitted into the mind to affect its powers. The spirit of idleness, indifference, depravity, and perversity finds no exhibition in his person. And thus he makes his ears, eyes, nose, and mouth, the apprehensions of his mind, and the movements of all the parts of his body, all follow the course that is correct, and do that which is right. |
| | 乐记: |
然后发以声音，而文以琴瑟，动以干戚，饰以羽旄，从以箫管。奋至德之光，动四气之和，以著万物之理。是故清明象天，广大象地，终始象四时，周还象风雨。五色成文而不乱，八风从律而不奸，百度得数而有常。小大相成，终始相生。倡和清浊，迭相为经。故乐行而伦清，耳目聪明，血气和平，移风易俗，天下皆宁。 |
| Yue Ji: |
After this there ensues the manifestation (of the inward thoughts) by the modulations of note and tone, the elegant accompaniments of the lutes, small and large, the movements with the shield and battleaxe, the ornaments of the plumes and ox-tails, and the concluding with the pipes and flutes. All this has the effect of exhibiting the brilliance of complete virtue, stirring up the harmonious action of the four (seasonal) energies; and displaying the true natures and qualities of all things. Hence in the fine and distinct notes we have an image of heaven; in the ample and grand, an image of earth; in their beginning and ending, an image of the four seasons; in the wheelings and revolutions (of the pantomimes), an image of the wind and rain. (The five notes, like) the five colours, form a complete and elegant whole, without any confusion. (The eight instruments of different materials, like) the eight winds, follow the musical accords, without any irregular deviation. The lengths of all the different notes have their definite measurements, without any uncertainty. The small and the great complete one another. The end leads on to the beginning, and the beginning to the end. The key notes and those harmonising with them, the sharp and the bass, succeed one another in their regular order. Therefore, when the music has full course, the different relations are clearly defined by it; the perceptions of the ears and eyes become sharp and distinct; the action of the blood and physical energies is harmonious and calm; (bad) influences are removed, and manners changed; and all under heaven there is entire repose. |
| | 乐记: |
故曰：乐者乐也。君子乐得其道，小人乐得其欲。以道制欲，则乐而不乱；以欲忘道，则惑而不乐。 |
| Yue Ji: |
Hence we have the saying, 'Where there is music there is joy.' Superior men rejoice in attaining to the course (which they wish to pursue); and smaller men in obtaining the things which they desire. When the objects of desire are regulated by a consideration of the course to be pursued, there is joy without any disorder. When those objects lead to the forgetfulness of that course, there is delusion, and no joy. |
| | 乐记: |
是故君子反情以和其志，广乐以成其教，乐行而民乡方，可以观德矣。德者性之端也。乐者德之华也。金石丝竹，乐之器也。诗言其志也，歌咏其声也，舞动其容也。三者本于心，然后乐气从之。是故情深而文明，气盛而化神。和顺积中而英华发外，唯乐不可以为伪。 |
| Yue Ji: |
It is for this purpose that the superior man returns to the (good) affections (proper to his nature), in order to bring his will into harmony with them, and makes extensive use of music in order to perfect his instructions. When the music has free course, the people direct themselves to the quarter (to which they should proceed), and we can see (the power of) his virtue. Virtue is the strong stein of (man's) nature, and music is the blossoming of virtue. Metal, stone, silk, and bamboo are (the materials of which) the instruments of music (are made). Poetry gives expression to the thoughts; singing prolongs the notes (of the voice); pantomimic movements put the body into action (in harmony with the sentiments). These three things originate in the mind, and the instruments of the music accompany them. In this way the affections (from which comes the music) are deeply seated, and the elegant display of them is brilliant. All the energies (of the nature) are abundantly employed, and their transforming power is mysterious and spirit-like. A harmonious conformity (to virtue) is realised within, and the blossoming display of it is conspicuous without, for in music, more than other things, there should be nothing that is pretentious or hypocritical. |
| | 乐记: |
乐者，心之动也；声者，乐之象也。文采节奏，声之饰也。君子动其本。 |
| Yue Ji: |
Music springs from the movement of the mind; the notes are the manifestation of the music; the elegant colours and various parts are the ornaments of the notes. The superior man puts its fundamental cause in movement, makes its manifesting notes into music, and regulates its ornaments. |
| | 乐记: |
乐其象，然后治其饰。是故先鼓以警戒，三步以见方，再始以著往，复乱以饬归。奋疾而不拔，极幽而不隐。独乐其志，不厌其道；备举其道，不私其欲。是故情见而义立，乐终而德尊。君子以好善，小人以听过。故曰：生民之道，乐为大焉。 |
| Yue Ji: |
Thus they first strike the drum to warn (the performers) to be in readiness, and (the pantomimes) take three steps to show the nature of the dance. This is done a second time and they begin to move forward; and when they have completed their evolutions, they return and dress their ranks. However rapid their movements may be, there is nothing violent in them; however mysterious they may be, they are not beyond the power of being understood. One, studying them alone, finds pleasure in the object of them, and does not tire in his endeavours to understand them. When he has fully understood them, he does not keep what he desires to himself. Thus the affections (of joy) are displayed; the (ideal) of righteousness is established; and when the music is ended, the (due) honour has been paid to virtue. Superior men by it nourish their love of what is good; small men in it hear the (correction of) their errors. Hence it is said, that 'for the courses to be pursued by men the influence of music is great.' |
| | 乐记: |
乐也者施也；礼也者报也。乐，乐其所自生；而礼，反其所自始。乐章德，礼报情反始也。 |
| Yue Ji: |
In music we have the outcome and bestowal (of what its framers felt); in ceremonies a return (for what their performers had received). Music expresses the delight in what produces it, and ceremonies lead the mind back to (the favours) which originate them. Music displays the virtue (of the framer); ceremonies are a return of the feelings (which led to them), as carrying the mind back to what originated them. |
| | 乐记: |
所谓大辂者，天子之车也。龙旗九旒，天子之旌也。青黑缘者，天子之宝龟也。从之以牛羊之群，则所以赠诸侯也。 |
| Yue Ji: |
What is called 'a Grand carriage' is one which is (the gift) of the son of Heaven; the flag with dragons, and a nine-scolloped border, was the banner (conferred by) the son of Heaven; that with the azure and black edging exhibited the precious tortoises, and was (also the gift of) the son of Heaven; and when these were followed by herds of oxen and sheep, they were the gifts bestowed on the feudal lords. |
| | 乐记: |
乐也者，情之不可变者也。礼也者，理之不可易者也。乐统同，礼辨异，礼乐之说，管乎人情矣。 |
| Yue Ji: |
In music we have the expression of feelings which do not admit of any change; in ceremonies that of principles which do not admit of any alteration. Music embraces what all equally share; ceremony distinguishes the things in which men differ. Hence the theory of music and ceremonies embraces the whole nature of man. |
| | 乐记: |
穷本知变，乐之情也；著诚去伪，礼之经也。礼乐偩天地之情，达神明之德，降兴上下之神，而凝是精粗之体，领父子君臣之节。 |
| Yue Ji: |
To go to the very root (of our feelings) and know the changes (which they undergo) is the province of music; to display sincerity and put away all that is hypocritical is the grand law of ceremonies. Ceremonies and music resemble the nature of Heaven and Earth, penetrate to the virtues of the spiritual Intelligences, bring down the spirits from above, and raise up those whose seat is below. They give a sort of substantial embodiment of what is most subtle as well as material, and regulate the duties between father and son, ruler and subject. |
| | 乐记: |
是故大人举礼乐，则天地将为昭焉。天地欣合，阴阳相得，煦妪覆育万物，然后草木茂，区萌达，羽翼奋，角觡生，蛰虫昭苏，羽者妪伏，毛者孕鬻，胎生者不殰，而卵生者不殈，则乐之道归焉耳。 |
| Yue Ji: |
Therefore, when the Great man uses and exhibits his ceremonies and music, Heaven and Earth will in response to him display their brilliant influences. They will act in happy union, and the energies (of nature), now expanding, now contracting, will proceed harmoniously. The genial airs from above and the responsive action below will overspread and nourish all things. Then plants and trees will grow luxuriantly; curling sprouts and buds will expand; the feathered and winged tribes will be active; horns and antlers will grow; insects will come to the light and revive; birds will breed and brood; the hairy tribes will mate and bring forth; the mammalia will have no abortions, and no eggs will be broken or addled - and all will have to be ascribed to the power of music. |
| | 乐记: |
乐者，非谓黄钟大吕弦歌干扬也，乐之末节也，故童者舞之。铺筵席，陈尊俎，列笾豆，以升降为礼者，礼之末节也，故有司掌之。乐师辨乎声诗，故北面而弦；宗祝辨乎宗庙之礼，故后尸；商祝辨乎丧礼，故后主人。是故德成而上，艺成而下；行成而先，事成而后。是故先王有上有下，有先有后，然后可以有制于天下也。 |
| Yue Ji: |
When we speak of music we do not mean the notes emitted by the Guang Zhong, Da Lu, (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 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. 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. |
| | 乐记: |
魏文侯问于子夏曰：“吾端冕而听古乐，则唯恐卧；听郑卫之音，则不知倦。敢问：古乐之如彼何也？新乐之如此何也？” |
| Yue Ji: |
The marquis Wen of Wei asked Zi-xia, 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 Kang and Wei, I do not feel tired; let me ask why I should feel so differently under the old and the new music.' |
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子夏对曰：“今夫古乐，进旅退旅，和正以广。弦匏笙簧，会守拊鼓，始奏以文，复乱以武，治乱以相，讯疾以雅。君子于是语，于是道古，修身及家，平均天下。此古乐之发也。 |
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Zi-xia 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 Xiang, and the rapidity of the motions by the Ya. 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. |
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今夫新乐，进俯退俯，奸声以滥，溺而不止；及优侏儒，糅杂子女，不知父子。乐终不可以语，不可以道古。此新乐之发也。今君之所问者乐也，所好者音也！夫乐者，与音相近而不同。” |
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'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. What you ask about is music; and what you like is sound. Now music and sound are akin, but they are not the same.' |
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文侯曰：“敢问何如？”子夏对曰：“夫古者，天地顺而四时当，民有德而五谷昌，疾疢不作而无妖祥，此之谓大当。然后圣人作为父子君臣，以为纪纲。纪纲既正，天下大定。天下大定，然后正六律，和五声，弦歌诗颂，此之谓德音；德音之谓乐。《》云：‘莫其德音，其德克明。克明克类，克长克君，王此大邦；克顺克俾，俾于文王，其德靡悔。既受帝祉，施于孙子。’此之谓也。今君之所好者，其溺音乎？” |
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The marquis asked him to explain, and Zi-xia 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), '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 Wen, His virtue left nothing to be dissatisfied with. He received the blessing of God, And it was extended to his descendants." May I not say that what you love are the vile airs?' |
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文侯曰：“敢问溺音何从出也？”子夏对曰：“郑音好滥淫志，宋音燕女溺志，卫音趋数烦志，齐音敖辟乔志；此四者皆淫于色而害于德，是以祭祀弗用也。《》云：‘肃雍和鸣，先祖是听。’夫肃肃，敬也；雍雍，和也。夫敬以和，何事不行？ |
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The marquis said, "Let me ask where the vile airs come from?' Zi-xia replied, 'The airs of Zheng go to a wild excess, and debauch the mind; those of Song tell of slothful indulgence and women, and drown the mind; those of Wei are vehement and rapid, and perplex the mind; and those of Qi 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. It is said in the Book of Poetry (IV, 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? |
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为人君者谨其所好恶而已矣。君好之，则臣为之。上行之，则民从之。《》云：‘诱民孔易’，此之谓也。”然后，圣人作为鞉、鼓、椌、楬、埙、篪，此六者德音之音也。然后钟磬竽瑟以和之，干戚旄狄以舞之，此所以祭先王之庙也，所以献酬酳酢也，所以官序贵贱各得其宜也，所以示后世有尊卑长幼之序也。 |
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'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." 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 sounds of 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 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. |
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钟声铿，铿以立号，号以立横，横以立武。君子听钟声则思武臣。石声磬，磬以立辨，辨以致死。君子听磬声则思死封疆之臣。丝声哀，哀以立廉，廉以立志。君子听琴瑟之声则思志义之臣。竹声滥，滥以立会，会以聚众。君子听竽笙箫管之声，则思畜聚之臣。鼓鼙之声欢，欢以立动，动以进众。君子听鼓鼙之声，则思将帅之臣。君子之听音，非听其铿枪而已也，彼亦有所合之也。 |
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'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 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 tambours, 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.' |
| | 乐记: |
宾牟贾侍坐于孔子，孔子与之言及乐，曰：“夫《武》之备戒之已久，何也？”对曰：“病不得众也。” |
| Yue Ji: |
Bin-mou Jia was sitting with Confucius. Confucius talked with him about music, and said, 'At (the performance of) the Wu, 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.' |
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“咏叹之，淫液之，何也？”对曰：“恐不逮事也。” |
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'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.' |
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“发扬蹈厉之已蚤，何也？”对曰：“及时事也。” |
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'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.' |
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“武坐致右宪左，何也？”对曰：“非武坐也。” |
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'How is it that, (in the performance of the Wu,) the pantomimes kneel on the ground with the right knee, while the left is kept up?' The answer was, 'There should be no kneeling in the Wu.' |
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“声淫及商，何也？”对曰：“非《武》音也。” |
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'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 Wu.' |
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子曰：“若非《武》音，则何音也？”对曰：“有司失其传也。若非有司失其传，则武王之志荒矣。”子曰：“唯！丘之闻诸苌弘，亦若吾子之言是也。” |
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'But if there should be no such sound in the Wu, 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 Wu would have been reckless and wrong.' The Master said, 'Yes, what I heard from Chang Hong was to the same effect as what you now say.' |
| | 乐记: |
宾牟贾起，免席而请曰：“夫《武》之备戒之已久，则既闻命矣，敢问：迟之迟而又久，何也？” |
| Yue Ji: |
Bin-mao Jia rose up, left his mat, and addressed Confucius, saying, 'On the long-continued warning (of the drum) in the Wu, 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?' |
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子曰：“居！吾语汝。夫乐者，象成者也；总干而山立，武王之事也；发扬蹈厉，大公之志也。《武》乱皆坐，周、召之治也。且夫《武》，始而北出，再成而灭商。三成而南，四成而南国是疆，五成而分周公左召公右，六成复缀以崇。天子夹振之而驷伐，盛威于中国也。分夹而进，事早济也，久立于缀，以待诸侯之至也。 |
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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 as a hill, representing the attitude of king Wu. The violent movements of the arms and fierce stamping represent the enthusiasm of Tai-gong. The kneeling of all at the conclusion of the performance represents the government (of peace, instituted) by (the dukes of) Zhou and Shao. Moreover, the pantomimes in the first movement proceed towards the north (to imitate the marching of king Wu 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) Zhou and Shao were severally put in charge of the states on the left and right; in the sixth, they again unite at the point of starting to offer their homage to the son 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 Wu) 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. |
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且女独未闻牧野之语乎？武王克殷反商。未及下车而封黄帝之后于蓟，封帝尧之后于祝，封帝舜之后于陈。下车而封夏后氏之后于杞，投殷之后于宋。封王子比干之墓，释箕子之囚，使之行商容而复其位。庶民弛政，庶士倍禄。济河而西，马散之华山之阳，而弗复乘；牛散之桃林之野，而弗复服。车甲衅而藏之府库，而弗复用。倒载干戈，包之以虎皮；将帅之士，使为诸侯；名之曰建櫜。然后知武王之不复用兵也。散军而郊射，左射狸首，右射驺虞，而贯革之射息也。裨冕搢笏，而虎贲之士说剑也。祀乎明堂而民知孝。朝觐然后诸侯知所以臣，耕藉然后诸侯知所以敬。五者，天下之大教也。 |
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'And have you alone not heard the accounts of Mu-ye? King Wu, after the victory over Yin, proceeded to (the capital of) Shang; and before he descended from his chariot he invested the descendants of Huang Di with Ji; those of the Di Yao with Zhu; and those of the Di Shun with Chen. When he had descended from it, he invested the descendant of the sovereign of Xia with Qi; appointed the descendants of Yin to Song; raised a mound over the grave of the king's son, Bi-gan; released the count of Ji 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 He, and proceeded to the West. His horses were set free on the south of mount Hua, 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 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 Wu would have recourse to weapons of war no more. 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 Li-shou; at that on the right (or west) they shot to the music of the Zou-yu; 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.' |
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食三老五更于大学，天子袒而割牲，执酱而馈，执爵而酳，冕而总干，所以教诸侯之弟也。若此则周道四达，礼乐交通。则夫《武》之迟久，不亦宜乎！” |
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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 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. In this manner the ways of Zhou penetrated everywhere, and the interaction of ceremonies and music was established - is it not right that in the performance of the Wu there should be that gradual and long-continuing action?' |
| | 乐记: |
君子曰：礼乐不可斯须去身。致乐以治心，则易直子谅之心油然生矣。易直子谅之心生则乐，乐则安，安则久，久则天，天则神。天则不言而信，神则不怒而威，致乐以治心者也。致礼以治躬则庄敬，庄敬则严威。心中斯须不和不乐，而鄙诈之心入之矣。外貌斯须不庄不敬，而易慢之心入之矣。 |
| Yue Ji: |
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. 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 it. If the outward demeanour be for a moment without gravity and respectfulness, indifference and rudeness show themselves. |
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故乐也者，动于内者也；礼也者，动于外者也。乐极和，礼极顺，内和而外顺，则民瞻其颜色而弗与争也；望其容貌，而民不生易慢焉。故德辉动于内，而民莫不承听；理发诸外，而民莫不承顺。故曰：致礼乐之道，举而错之，天下无难矣。 |
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'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."' |
| | 乐记: |
乐也者，动于内者也；礼也者，动于外者也。故礼主其减，乐主其盈。礼减而进，以进为文：乐盈而反，以反为文。礼减而不进则销，乐盈而不反则放；故礼有报而乐有反。礼得其报则乐，乐得其反则安；礼之报，乐之反，其义一也。 |
| Yue Ji: |
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 is that to every ceremony there is 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 of) repose. The responses of ceremony and the introspection of music spring from one and the same idea, and have one and the same object. |
| | 乐记: |
夫乐者乐也，人情之所不能免也。乐必发于声音，形于动静，人之道也。声音动静，性术之变，尽于此矣。故人不耐无乐，乐不耐无形。形而不为道，不耐无乱。先王耻其乱，故制雅、颂之声以道之，使其声足乐而不流，使其文足论而不息，使其曲直繁瘠、廉肉节奏足以感动人之善心而已矣。不使放心邪气得接焉，是先王立乐之方也。 |
| Yue Ji: |
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 Ya 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. |
| | 乐记: |
是故乐在宗庙之中，君臣上下同听之则莫不和敬；在族长乡里之中，长幼同听之则莫不和顺；在闺门之内，父子兄弟同听之则莫不和亲。故乐者审一以定和，比物以饰节；节奏合以成文。所以合和父子君臣，附亲万民也，是先王立乐之方也。 |
| Yue Ji: |
Therefore in the ancestral temple, rulers and 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. |
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故听其雅、颂之声，志意得广焉；执其干戚，习其俯仰诎伸，容貌得庄焉；行其缀兆，要其节奏，行列得正焉，进退得齐焉。故乐者天地之命，中和之纪，人情之所不能免也。夫乐者，先王之所以饰喜也，军旅鈇钺者，先王之所以饰怒也。故先王之喜怒，皆得其侪焉。喜则天下和之，怒则暴乱者畏之。先王之道，礼乐可谓盛矣。 |
| Yue Ji: |
In listening to the singing of the Ya and the Song, 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) move 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 re tiring 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. It was by music that the ancient kings gave elegant expression to their joy; by their armies and 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. |
| | 乐记: |
子赣见师乙而问焉，曰：“赐闻声歌各有宜也，如赐者，宜何歌也？”师乙曰：“乙贱工也，何足以问所宜？请诵其所闻，而吾子自执焉：宽而静、柔而正者宜歌颂。广大而静、疏达而信者宜歌大雅。恭俭而好礼者宜歌小雅。正直而静、廉而谦者宜歌风。肆直而慈爱者宜歌商；温良而能断者宜歌齐。夫歌者，直己而陈德也。动己而天地应焉，四时和焉，星辰理焉，万物育焉。 |
| Yue Ji: |
(Once), when Zi-gong had an interview with the music-master Yi, he asked him, saying, 'I have heard that in the music and words belonging to it there is that which is specially appropriate to every man; what songs are specially appropriate to me?' The other replied, 'I am but a poor musician, and am not worthy to be asked what songs are appropriate for particular individuals; allow me to repeat to you what I have heard, and you can select for yourself (what is appropriate to you). The generous and calm, the mild and correct, should sing the Sung; the magnanimous and calm, and those of wide penetration and sincere, the Da Ya (Major Odes of the Kingdom); the courteous and self-restraining, the lovers of the rules of propriety, the Xiao Ya (Minor Odes of the Kingdom); the correct, upright, and calm, the discriminating and humble, the Fang, (Airs of the States); the determinedly upright, but yet gentle and loving, the Shang; and the mild and honest, but yet capable of decision, the Qi. The object of this singing is for one to make himself right, and then to display his virtue. When he has thus put himself in a condition to act, Heaven and Earth respond to him, the four seasons revolve in harmony with him, the stars and constellations observe their proper laws, and all things are nourished and thrive. |
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故商者，五帝之遗声也。商人识之，故谓之商。齐者三代之遗声也，齐人识之，故谓之齐。明乎商之音者，临事而屡断，明乎齐之音者，见利而让。临事而屡断，勇也；见利而让，义也。有勇有义，非歌孰能保此？故歌者，上如抗，下如队，曲如折，止如槁木，倨中矩，句中钩，累累乎端如贯珠。故歌之为言也，长言之也。说之，故言之；言之不足，故长言之；长言之不足，故嗟叹之；嗟叹之不足，故不知手之舞之，足之蹈之也。”子贡问乐。 |
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'What are called the Shang were the airs and words transmitted from the five Dis; and having been remembered by the people of Shang, we call them the Shang. What are called the Qi were transmitted from the three dynasties; and having been remembered by the people of Qi, we call them the Qi. He who is versed in the airs of the Shang will generally be found to manifest decision in the conduct of affairs. He who is versed in the airs of the Qi, when he is attracted by the prospect of profit, will yet give place to others. To manifest decision in the conduct of affairs is bravery; to give. place to others in the prospect of gain is righteousness. Who, without singing these songs, can assure himself that he will always preserve such bravery and righteousness? In singing, the high notes rise as if they were borne aloft; the low descend as if they were falling to the ground; the turns resemble a thing broken off; and the finale resembles the breaking) of a willow tree; emphatical notes seem made by the square; quavers are like the hook (of a spear); and those prolonged on the same key are like pearls strung together. Hence, singing means the prolonged expression of the words; there is the utterance of the words, and when the simple utterance is not sufficient, the prolonged expression of them. When that prolonged expression is not sufficient, there come the sigh and exclamation. When these are insufficient, unconsciously there come the motions of the hands and the stamping of the feet.' (Such was the answer to) Zi-gong's question about music. |
