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Chinese Text Project
Search details:
Scope: Request type: Paragraph
Condition 1: References "施於孫子" Matched:8.
Total 8 paragraphs. Page 1 of 1.

先秦兩漢 - Pre-Qin and Han

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儒家 - Confucianism

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禮記 - Liji

[Warring States (475 BC - 221 BC)] English translation: James Legge [?]
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[Also known as: 《小戴禮記》, "The Classic of Rites"]

樂記 - Yue Ji

English translation: James Legge [?]
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[Also known as: "Record of music"]

42 樂記:
魏文侯問於子夏曰:「吾端冕而聽古樂,則唯恐臥;聽鄭衛之音,則不知倦。敢問:古樂之如彼何也?新樂之如此何也?」
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.'
子夏對曰:「今夫古樂,進旅退旅,和正以廣。弦匏笙簧,會守拊鼓,始奏以文,復亂以武,治亂以相,訊疾以雅。君子於是語,於是道古,修身及家,平均天下。此古樂之發也。
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.
今夫新樂,進俯退俯,奸聲以濫,溺而不止;及優侏儒,糅雜子女,不知父子。樂終不可以語,不可以道古。此新樂之發也。今君之所問者樂也,所好者音也!夫樂者,與音相近而不同。」
'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.'
文侯曰:「敢問何如?」子夏對曰:「夫古者,天地順而四時當,民有德而五穀昌,疾疢不作而無妖祥,此之謂大當。然後聖人作為父子君臣,以為紀綱。紀綱既正,天下大定。天下大定,然後正六律,和五聲,弦歌詩頌,此之謂德音;德音之謂樂。《》云:『莫其德音,其德克明。克明克類,克長克君,王此大邦;克順克俾,俾於文王,其德靡悔。既受帝祉,施於孫子。』此之謂也。今君之所好者,其溺音乎?」
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?'
文侯曰:「敢問溺音何從出也?」子夏對曰:「鄭音好濫淫志,宋音燕女溺志,衛音趨數煩志,齊音敖辟喬志;此四者皆淫於色而害於德,是以祭祀弗用也。《》云:『肅雍和鳴,先祖是聽。』夫肅肅,敬也;雍雍,和也。夫敬以和,何事不行?
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?
為人君者謹其所好惡而已矣。君好之,則臣為之。上行之,則民從之。《》云:『誘民孔易』,此之謂也。」然後,聖人作為鞉、鼓、椌、楬、塤、篪,此六者德音之音也。然後鐘磬竽瑟以和之,干戚旄狄以舞之,此所以祭先王之廟也,所以獻酬酳酢也,所以官序貴賤各得其宜也,所以示後世有尊卑長幼之序也。
'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.
鐘聲鏗,鏗以立號,號以立橫,橫以立武。君子聽鐘聲則思武臣。石聲磬,磬以立辨,辨以致死。君子聽磬聲則思死封疆之臣。絲聲哀,哀以立廉,廉以立志。君子聽琴瑟之聲則思志義之臣。竹聲濫,濫以立會,會以聚眾。君子聽竽笙簫管之聲,則思畜聚之臣。鼓鼙之聲讙,讙以立動,動以進眾。君子聽鼓鼙之聲,則思將帥之臣。君子之聽音,非聽其鏗槍而已也,彼亦有所合之也。
'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.'

孔子閒居 - Kongzi Xian Ju

English translation: James Legge [?]
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[Also known as: "Confucius at home at leisure"]

4 孔子閒居:
子夏曰:「言則大矣!美矣!盛矣!言盡於此而已乎?」孔子曰:「何為其然也!君子之服之也,猶有五起焉。」子夏曰:「何如?」子曰:「無聲之樂,氣志不違;無體之禮,威儀遲遲;無服之喪,內恕孔悲。無聲之樂,氣志既得;無體之禮,威儀翼翼;無服之喪,施及四國。無聲之樂,氣志既從;無體之禮,上下和同;無服之喪,以畜萬邦。無聲之樂,日聞四方;無體之禮,日就月將;無服之喪,純德孔明。無聲之樂,氣志既起;無體之禮,施及四海;無服之喪,施于孫子。
Kongzi Xian Ju:
Zi-xia said, 'Your words are great, admirable, and complete. Do they exhaust all that can be said on the subject? Is there nothing more?' Confucius said, 'How should it be so? When a superior man practises these things, there still arise five other points.' Zi-xia said, 'How is that?' Confucius said, 'When there is that music without sound, there is no movement of the spirit or will in opposition to it. When there is that ceremony without embodiment, all the demeanour is calm and gentle. When there is that mourning without garb, there is an inward reciprocity, and great pitifulness. When there is that music without sound, the spirit and will are mastered. When there is that ceremony without embodiment, all the demeanour is marked by courtesy. When there is that mourning without garb, it reaches to all in all quarters. When there is that music without sound, the spirit and will are followed. When there is that ceremony without embodiment, high and low are harmonious and united. When there is that mourning without garb, it goes on to nourish all regions. When there is that music without sound, it is daily heard in all the four quarters of the kingdom. When there is that ceremony without embodiment, there is a daily progress and a monthly advance. When there is that mourning, without garb, the virtue (of him who shows it) becomes pure and very bright. When there is that music without sound, all spirits and wills are roused by it. When there is that ceremony without embodiment, its influence extends to all within the four seas. When there is that mourning without garb, it extends to future generations.'

中論 - Zhong Lun

[Eastern Han (25 - 220)] Xu Gan
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務本

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3 務本:
夫人君非無治為也,失所先後故也。道有本末,事有輕重,聖人之異乎人者,無他焉,蓋如此而已矣。魯桓公容貌美麗,且多技藝,然而無君才大智,不能以禮防正其母,使與齊侯淫亂不絕,驅馳道路,故《》刺之曰:「猗嗟名兮,美目清兮。儀既成兮,終日射侯,不出正兮。展我甥兮。」下及昭公,亦善有容儀之習,以亟其朝晉也。自郊勞至於贈賄,禮無違者。然而不恤國政,政在大夫,弗能取也。子家羈賢,而不能用也。奸大國之明禁,凌虐小國,利人之難,而不知其私,公室四分,民食其他。思莫在於公,不圖其終,卒有出奔之禍。《春秋》書而絕之曰:「公孫於齊,次於陽州。」故《春秋外傳》曰:「國君者服寵以為美,安民以為樂,聽德以為聰,致遠以為明。」又《》陳文王之德,曰:「惟此文王,帝度其心,貊其德音。其德克明,克明克類;克長克君,王此大邦,克順克比,比于文王,其德靡悔。既受帝祉,施于孫子。」「心能制義曰『度』」;「德政應和曰『貊』,照監四方曰『明』,施勤無私曰『類』,教誨不倦曰『長』,賞慶刑威曰『君』」;「慈和徧服曰『順』,擇善而從曰『比』,經緯天地曰『文』」。如此則為九德之美,何技藝之尚哉?

史書 - Histories

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史記 - Shiji

[Western Han] 109 BC-91 BC Sima Qian
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[Also known as: "Records of the Grand Historian"]

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樂書

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41 樂書:
子夏答曰:「夫古者天地順而四時當,民有德而五穀昌,疾疢不作而無祅祥,此之謂大當。然後聖人作為父子君臣以為之紀綱,紀綱既正,天下大定,天下大定,然後正六律,和五聲,弦歌詩頌,此之謂德音,德音之謂樂。《》曰:『莫其德音,其德克明,克明克類,克長克君。王此大邦,克順克俾。俾於文王,其德靡悔。既受帝祉,施于孫子。』此之謂也。今君之所好者,其溺音與?」

春秋左傳 - Chun Qiu Zuo Zhuan

[Warring States] 468 BC-300 BC
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[Also known as: 《左傳》, 《左氏傳》, 《春秋傳》, 《左》]

昭公

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昭公二十八年

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2 昭公二十... :
二十八年,春,公如晉,將如乾侯,子家子曰,有求於人,而即其安,人孰矜之,其造於竟,弗聽,使請逆於晉,晉人曰,天禍魯國,君淹恤在外,君亦不使一個,辱在寡人,而即安於甥舅,其亦使逆君,使公復于竟而後逆之,晉祁勝與鄔臧通室,祁盈將執之,訪於司馬叔游,叔游曰,鄭書有之,惡直醜正,實蕃有徒,無道立矣,子懼不免,詩曰,民之多辟,無自立辟,姑已若何,盈曰,祁氏私有討,國何有焉,遂執之,祁勝賂荀躒,荀躒為之言於晉侯,晉侯執祁盈,祁盈之臣曰,鈞將皆死,憖使吾君聞勝與臧之死也以為快,乃殺之,夏,六月,晉殺祁盈及楊食我,食我,祁盈之黨也,而助亂,故殺之,遂滅祁氏,羊舌氏,初,叔向欲娶於申公巫臣氏,其母欲娶其黨,叔向曰,吾母多而庶鮮,吾懲舅氏矣,其母曰,子靈之妻,殺三夫,一君,一子,而亡一國,兩卿矣,可無懲乎,吾聞之,甚美必有甚惡,是鄭穆少妃,姚子之子,子貉之妹也,子貉早死無後,而天鍾美於是,將必以是,大有敗也,昔有仍氏生女,黰黑,而甚美,光可以鑑,名曰玄妻,樂正后夔取之,生伯封,實有豕心,貪惏無饜,忿纇無期,謂之封豕,有窮后羿滅之,夔是以不祀,且三代之亡,共子之廢,皆是物也。女何以為哉?夫有尤物,足以移人,苟非德義,則必有禍,叔向懼,不敢取,平公強使取之,生伯石,伯石始生,子容之母走謁諸姑,曰,長叔姒生男,姑視之,及堂,聞其聲而還,曰,是豺狼之聲也,狼子野心,非是,莫喪羊舌氏矣,遂弗視。
秋,晉韓宣子卒,魏獻子為政,分祁氏之田,以為七縣,分羊舌氏之田,以為三縣,司馬彌牟為鄔大夫,賈辛為祁大夫,司馬烏為平陵大夫,魏戊為梗陽大夫,知徐吾為塗水大夫,韓固為馬首大夫,孟丙為盂大夫,樂霄為銅鞮大夫,趙朝為平陽大夫,僚安為楊氏大夫,謂賈辛,司馬烏,為有力於王室,故舉之,謂知徐吾,趙朝,韓固,魏戊,餘子之不失職,能守業者也,其四人者,皆受縣而後見於魏子,以賢舉也,魏子謂成鱄,吾與戊也縣,人其以我為黨乎,對曰,何也,戊之為人也,遠不忘君,近不偪同,居利思義,在約思純,有守心而無淫行,雖與之縣不亦可乎,昔武王克商,光有天下,其兄弟之國者,十有五人,姬姓之國者,四十人,皆舉親也,夫舉無他,唯善所在,親疏一也,詩曰,唯此文王,帝度其心,莫其德音,其德克明,克明克類,克長克君,王此大國,克順克比,比于文王,其德靡悔,既受帝祉,施于孫子,心能制義曰度,德正應和曰莫,照臨四方曰明,勤施無私曰類,教誨不倦曰長,賞慶刑威曰君,慈和遍服曰順,擇善而從之曰比,經緯天地曰文,九德不愆,作事無悔,故襲天祿,子孫賴之,主之舉也,近文德矣,所及其遠哉,賈辛將適其縣,見於魏子,魏子曰,辛來,昔叔向適鄭,鬷蔑惡欲觀叔向,從使之收器者,而往立於堂下,一言而善,叔向將飲酒,聞之曰,必鬷明也,下執其手,以上曰,昔賈大夫惡,娶妻而美,三年不言不笑,御以如皋,射雉獲之,其妻始笑而言,賈大夫曰,才之不可以已,我不能射,女遂不言不笑夫,今子少不颺,子若無言,吾幾失子矣,言不可以已也如是,遂如故知,今女有力於王室,吾是以舉女,行乎敬之哉,毋墮乃力,仲尼聞魏子之舉也,以為義,曰,近不失親,遠不失舉,可謂義矣,又聞其命賈辛也,以為忠,詩曰,永言配命,自求多福,忠也,魏子之舉也,義其命也,忠其長有後於晉國乎。
冬,梗陽人有獄,魏戊不能斷,以獄上其大宗,賂以女樂,魏子將受之,魏戊謂閻沒女寬曰,主以不賄,聞於諸侯,若受梗陽,人賄莫甚焉,吾子必諫,皆許諾,退朝待於庭,饋入召之,比置三歎,既食使坐,魏子曰,吾聞諸伯叔諺曰,唯食忘憂,吾子置食之間,三歎何也,同辭而對曰,或賜二小人酒,不夕食,饋之始至,恐其不足,是以歎,中置自咎曰,豈將軍食之,而有不足,是以再歎,及饋之畢,願以小人之腹,為君子之心,屬厭而已,獻子辭梗陽人。

後漢書 - Hou Han Shu

[Northern and Southern] 420-445
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列傳

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郭陳列傳

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36 郭陳列傳:
贊曰:陳、郭主刑,人賴其平。寵矜枯胔,躬斷以情。忠用詳密,損益有程。施于孫子,且公且卿。

經典文獻 - Ancient Classics

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詩經 - Book of Poetry

[Western Zhou (1046 BC - 771 BC)]
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[Also known as: 《詩》, "The Book of Odes"]

大雅 - Greater odes of the kingdom

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文王之什 - Decade Of Wen Wang

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皇矣 - Huang Yi

English translation: James Legge [?]
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4 皇矣:
維此王季、帝度其心、貊其德音。
其德克明、克明克類、克長克君。
王此大邦、克順克比。
比于文王、其德靡悔。
既受帝祉、施于孫子。
Huang Yi:
The king Ji,
Was gifted by God with the power of judgement,
So that the fame of his virtue silently grew.
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.

漢代之後 - Post-Han

宋明 - Song-Ming

太平御覽

[Northern Song] 977-984 Library Resources

樂部一

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雅樂上

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4 雅樂上:
《禮》曰:凡音之起,由人心生也。人心之動,物使之然也。感于物而動,故形於聲。聲成方,謂之音;方猶文章。比音而樂之,及干戚羽毛,謂之樂。干,楯也;戚,斧也;武舞所執也。羽,翟也,旄牛尾也。文舞所執也。樂者,音之所由生也。其本在人心之感於物也。是故其哀心感者,其聲噍以殺;其樂心感者,其聲啴以緩;其喜心感者,其聲發以散;其怒心感者,其聲粗以厲;其敬心感者,其聲直以廉;其愛心感者,其聲和以柔。是故先王慎所以感之者。宮為君,商為臣,角為民,徵為事,羽為物,五者不亂則無怗懘之音矣。凡音濁者尊,清者卑。怗懘,弊敗不和貌也。宮亂則荒,其君驕;商亂則卑,其君壞;角亂則憂,其民怨;徵亂則衰,其事勤;羽亂則危,其財匱。五者皆亂,迭相陵,謂之慢。鄭、衛之音,亂世之音也,比於慢矣。桑間、濮上之音,亡國之音也,其政散,其民流,誣上行私而不可正也。是故知聲而不知音者,禽獸是也;知音而不知樂者,眾庶是也。惟君子為能知樂。是故不知聲者,不可與言音;不知音者,不可與言樂。知樂,則幾於禮矣。禮樂皆得,謂之有德。德者,得也。樂者為同,禮者為異。同則相親,異則相敬。同謂齊好惡,異謂別貴賤。樂勝則流,禮勝則離,流謂合行不敬也。離謂析居不和也。里襠中出,和在心也。禮自外作。敬在貌也。里襠中出,故靜;禮自外作,故文。大樂必易,大禮必簡。樂至則無怨,禮至則不爭。揖讓而天下治者,禮樂之謂也。大樂與天地同和,大禮與天地同節。和,故百物不失;節,故祀天祭地。明則有禮樂,幽則有鬼神,如此則四海之內合敬同愛矣。故知禮樂之情者能作,識禮樂之文者能述。述謂訓其義也。作者謂之聖,述者謂之明。樂者,天地之和也;禮者,天地之序也。和,故百物皆化,序,故群物皆別。化猶生也。謂猶形體異也。王者功成作樂,治定制禮。其功大者其樂備,其治辯者其禮具。五帝殊時,不相沿樂;三王異世,不相襲禮。樂極則憂,禮粗則偏矣。及夫敦樂而無憂、禮備而不偏者,其惟大聖乎?春作夏長,仁也;秋斂冬藏,義也。仁近於樂,義近於禮,故聖人作樂以應天,制禮以配地,禮樂明備,天地官矣。夫禮樂之極乎天而蟠乎地,行乎陰陽而通乎鬼神,窮高極遠而測深厚。是故志微、噍殺之音作,而民居思憂;啴諧、慢易、繁文、簡節之音作,而民康樂;粗厲、猛起、奮末、廣僨之音作,而民剛毅;廉直、勁正、莊誠之音作,而民肅敬;寬裕、內好、順成、和動之音作,而民慈愛;流僻、邪散、簡成、滌濫之音作,而民淫亂。故樂行而倫清,耳目聰明,血氣和平,移風易俗,天下皆寧。故曰:樂者,樂也。君子樂得其道,小人樂得其欲。以道制欲,則樂而不亂;以欲忘道,則惑而不樂。道謂仁義也。欲謂邪淫也。是故君子反情以和其志,廣樂以成其教,樂行而民向方,可以觀德矣。方猶道也。德者,性之端也;樂者,德之華也。金、石、絲、竹,樂之器也。詩,言其志也;歌詠其聲也;舞,動其容也。三者本於心,然後樂氣從之。
又曰:魏文侯問子夏曰:「吾端冕而聽古樂,惟恐臥,聽鄭、衛之音,則不知倦。敢問古樂之如彼,何也?新樂之如此,何也?」子夏對曰:「今夫古樂,進旅退旅,和正以廣。弦匏笙簧,會守拊鼓。始奏以文,復亂以武。治亂以相,訊疾以雅。君子於是語,於是道古。修身及家,平均天下,此古樂之發也。今夫新樂,進俯退俯,奸聲以濫,溺而不止。及猶侏儒,猶雜子女,不知父子,樂終不可以語,不可以道古。此新樂之發也。」文侯曰:「敢問溺音,何從而出也?」子夏對曰:「鄭音好濫淫志,宋音燕女溺志,衛音趨數煩志,齊音傲僻驕志。此四者,淫於色而害於德,是以祭祀弗用也。《詩云》:『肅雍和鳴,先祖是聽。』夫肅肅,敬也。雍雍,和也。夫敬以和,何事不行。為人君者,謹其所好惡而已矣。君好之,則臣為之;上行之,則民從之。《詩云》:『誘民孔易』,此之謂也。然後聖人作為鞉、鼓、椌、楬、塤、篪。此六者,德音之音也。然後鍾、磬、竽、瑟以和之,干、戚、旄、狄以舞之,此所以祭先王之廟也,所以獻酬酳酢也,所以官序貴賤、各得其宜也,所以示後世有尊卑長幼之序也。鍾聲鑒,鑒以立號,號以立橫,橫以立武,君子聽鍾聲,則思武臣。石聲磬,磬以立辨、辨以致死,君子聽磬聲,則思死封疆之臣。絲聲哀,哀以立廉,廉以立志,君子聽琴瑟之聲,則思志義之臣。竹聲濫,濫以立會,會以聚眾,君子聽竽、笙、簫、管之聲,則思畜聚之臣。鼓鼙之聲,歡,歡以立動,動以進眾,君子聽鼓鼙之聲,則思將帥之臣。君子之聽音,非聽其鏗鏘而已也,彼亦有所合之也。君子曰:禮樂不可斯須去身,致樂以治心,則易直子諒之心,油然生矣。易直子諒之心生則樂,樂則安,安則久,久則天,天則神。天則不言而信,神則不怒而威。致樂所以治心者也。致猶深審也。子讀如不子之子。油然,新生好貌也。善心生則寡於利欲,寡於利欲則樂矣。志明行成,不言而見信如天也,不怒而見畏如神。致禮以治躬則莊敬,莊敬則嚴。心中斯須不和不樂,而鄙詐之心入之矣;鄙詐入之謂利欲生。外貌斯須不莊不敬,而易慢之心入之矣。故樂也者,動於內者也;禮也者,動於外者也。樂極和,禮極順。內和而外順,則民瞻其顏色而弗與爭也,望其容貌而不生易慢焉。極,至也。故德輝動於內,而民莫不承聽;理發諸外,而民莫不承順。故曰:致禮樂之道,舉而措之天下無難矣。樂也者,動於內者也;禮也者,動於外者也。故禮主其減,樂主其盈。減猶倦也。盈猶冫益也。禮減而進,以進為文;里癔而反,以反為文。樂以統情,禮以理行,情溢而行倦,則進之,隘之則使反。進謂自負強,反謂自損神也。文猶美也。禮減而不進則銷,里癔而不反則放。故禮有報,而里裥反,放,淫于聲樂不能止也。報讀曰褒,猶進也。禮得其報則樂,樂得其反則安。得謂曉其義,知其歸。禮之報,樂之反,其義一也。夫樂者,先王之所以飾喜也;軍旅鈇鉞者,先王之所以飾怒也。故先王之喜怒,皆得其儕焉。」
又曰:孔子閑居,子夏曰:「敢問何謂三無?」孔子曰:「無聲之樂,無體之禮,無服之喪。」子夏曰:「三無既得而聞之矣,敢問何詩近之?」孔子曰:「『夙夜基命宥密』,無聲之樂也;『威儀棣棣,不可選也』,無體之禮也;『凡民有喪,匍匐救之』,無服之喪也。」子夏曰:「言盡於此而已乎?」孔子曰:「何為其然也?君子之服,猶有五起焉。無聲之樂,氣志不違;無體之禮,威儀遲遲;無服之喪,內恕孔悲。無聲之樂,氣志既得;無體之禮,威儀翼翼;無服之喪,施於四國。無聲之樂,氣志既從;無體之禮,上下和同;無服之喪,以畜萬邦。無聲之樂,日聞四方;無體之禮,日就月將;無服之喪,純德孔明。無聲之樂,氣志既定;無體之禮,施及四海;無服之喪,施於孫子。
又曰:入門而金作,示情也。升歌《清廟》,示德也。下管象武,示事也。是故古之君子,不必親相與言也,以禮樂相示而已。
又曰:故天子之為樂也,以賞諸侯之有德者也。德威而教尊,五穀時熟,然後賞之以樂也。
又曰:《郊特牲》曰:賓入大門而作《肆夏》,示易以敬。賓,朝聘者。易,和悅也。卒爵而樂闋,孔子屢嘆之。美此禮也。里襠陽來者,禮由陰作者,陰陽和而萬物得也。

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