| 中國哲學書電子化計劃 |
《禮樂》 | 英文翻譯：人工智能和中國哲學書電子化計劃用戶 [?] | 提到《禮樂》的書籍 電子圖書館 |
| 1 | 禮樂: | 禮樂者，何謂也？禮之為言履也，可履踐而行樂者；樂也，君子樂得其道，小人樂得其欲。王者所以盛禮樂何？節文之喜怒。樂以象天，禮以法地。人無不含天地之氣，有五常之性者，故樂所以蕩滌，反其邪惡也，禮所以防淫佚，節其侈靡也。故《孝經》曰：「安上治民，莫善於禮；移風易俗，莫善於樂。」子曰：「樂在宗廟之中，君臣上下同聽之，則莫不和敬；族長鄉里之中，長幼同聽之，則莫不和順；在閨門之內，父子兄弟同聽之，則莫不和親。故樂者，所以崇和順，比物飾節，節奏合以成文，所以合和父子、君臣，附親萬民也。是先王立樂之意也。故聽其雅、頌之聲，志意得廣焉，執干戚習俯仰屈信，容貌得齊焉；其輟兆，要其節奏，行列得正焉，進退得齊焉。故樂者天地之命、中和之紀、人情之所不能免焉也。夫樂者，先王之所以飾喜也；軍旅鈇鉞，所以飾怒也。故先王之喜怒，皆得其齊焉，喜則天下和之，怒則暴亂者畏之。先王之道，禮樂可謂盛矣。」聞角聲，莫不惻隱而慈者；聞徵聲，莫不喜養好施者；聞啇聲，莫不剛斷而立事者；聞羽聲，莫不深思而遠慮者；聞宮聲，莫不溫潤而寬和者也。 |
| What is meant by rites and music? Rites, in meaning, refer to conduct that can be practiced and followed; they are the way of proper behavior. Music refers to the joy derived from it: a gentleman finds joy in attaining the Way, while a petty person finds joy in satisfying his desires. Why do sovereigns emphasize rites and music so greatly? To regulate expressions of joy and anger through proper forms and decorum. Music is used to symbolize Heaven, and rites are established to emulate Earth. All people inherently contain the vital energies of Heaven and Earth and possess the Five Constant Virtues; therefore, music is used to purify and dispel evil inclinations, while rites are employed to prevent licentiousness and restrain extravagance. Therefore, the Classic of Filial Piety states: "To pacify superiors and govern the people, nothing is better than rites;" "To transform customs and change social mores, nothing is better than music." The Master said: "When music is performed in the ancestral temple and both ruler and subjects, superiors and inferiors listen to it together, then none fail to be harmonious and respectful;" in the village community, when elders and juniors listen to it together, none fail to be harmonious and obedient; within the household, when father and son, brothers listen to it together, then none fails to be harmonious and affectionate. Therefore, music is employed to promote harmony and obedience; it arranges things in order, adorns the rhythms, and combines them into a patterned whole. Thus, it serves to harmonize father and son, ruler and subject, and to unite and endear all the people. This is the intention of the sage kings in establishing music. Therefore, listening to the elegant and laudatory tones of music broadens one's thoughts and aspirations; handling shields and axes while practicing bows, postures, and movements brings order and decorum to one's appearance. Its formations are arranged, its rhythms coordinated—thus the ranks become properly aligned, and movements forward and backward are unified. Therefore, music is the mandate of Heaven and Earth, the principle of harmony, and something human nature cannot avoid. Music is what sage kings used to express joy in a refined manner; military expeditions and weapons of war are employed to express anger in an orderly fashion. Therefore, the joys and angers of sage kings were all properly regulated: when they rejoiced, the whole world harmonized with them; when they became angry, those who committed violence and disorder feared them. The way of sage kings—rites and music can truly be said to have reached their height." Hearing the sound of the horn, none but feel compassion and tenderness; Hearing the shang tone, none but feel joy in nurturing and a desire to give generously; Hearing the jue sound, none but become resolute and determined to accomplish tasks; Hearing the yu tone, none but engage in deep thought and far-reaching deliberation; Hearing the gong tone, none but feel warm, gentle, and harmonious. | ||
| 2 | 禮樂: | 禮所揖讓何？所以尊人自損也，不爭。《論語》曰：「揖讓而升，下而飲，其爭也君子。」故「君使臣以禮，臣事君以忠。」「謙謙君子，利涉大川。」以貴下賤，大得民也。屈己敬人，君子之心。故孔子曰：「為禮不敬，吾何以觀之哉！」夫禮者，陰陽之際也，百事之會也，所以尊天地，儐鬼神，序上下，正人道也。 |
| What is meant by the bowing and yielding in rites? It is to show respect for others while humbling oneself, and thus to refrain from contention. The Analects states: "They bow and yield as they ascend the platform for sacrifice, and do the same when descending to drink. Such is the kind of competition that befits a gentleman." Therefore, "A ruler should employ his ministers with rites, and a minister should serve his ruler with loyalty." "A modest and courteous gentleman can successfully cross great rivers." A person of high status who humbles himself before those of low status gains the greatest favor with the people. To humble oneself and respect others is the heart of a gentleman. Therefore, Confucius said: "If rites are performed without reverence, what is there for me to observe!" Rites are the juncture of yin and yang, the convergence of all affairs; they serve to honor Heaven and Earth, entertain spirits and deities, establish hierarchy, and rectify human conduct. | ||
| 3 | 禮樂: | 樂所以必歌者何？夫歌者，口言之也。中心喜樂，口欲歌之，手欲舞之，足欲蹈之。故《尚書》曰：「前歌後舞，假于上下。」禮貴忠何？禮者，盛不足節有餘，使豐年不奢，凶年不儉，貧富不相懸也。樂尚雅？雅者，古正也，所以遠鄭聲也。孔子曰：「鄭聲淫何？鄭國土地民人，山居谷浴，男女錯雜，為鄭聲以相悅懌，故邪僻聲，皆淫色之聲也。」 |
| Why is singing necessarily part of music? Singing is the expression through spoken words. When one's heart is filled with joy, the mouth desires to sing, the hands desire to dance, and the feet desire to stomp. Therefore, the Book of Documents states: "Singing in front and dancing behind, communicating with Heaven and Earth above and below." Why is loyalty esteemed in rites? Rites serve to restrain excess and supplement what is lacking, ensuring that in times of abundance there is no extravagance, and in times of hardship there is no excessive frugality, so that the poor and the rich do not become excessively disparate. Why is elegance esteemed in music? Elegance refers to the ancient and proper standard; it is valued in order to distance oneself from vulgar and licentious music. Confucius said: "Why is Zheng music licentious?" Zheng State's land, people, and customs—residing among mountains and bathing in valleys, with men and women mingling freely—they created Zheng music to please and attract one another; therefore, its melodies are deviant and licentious, all being sounds that incite lustful desires. | ||
| 4 | 禮樂: | 太平乃制禮作樂何？夫禮樂，所以防奢淫。天下人民飢寒，何樂之乎！功成作樂，治定制禮。樂言作、禮言制何？樂者，陽也，陽倡始，故言作；禮者，陰也，陰制度於陽，故言制。樂象陽，禮法陰也。 |
| Why is it only in times of peace and prosperity that rites and music are established? Rites and music serve to prevent extravagance and licentiousness. When the people of the world are starving and cold, what is there to be joyful about! Music is created when achievements are realized; rites are established when order and stability are secured. Why is music referred to as "created" (zuo) and rites as "established" (zhi)? Music belongs to the yang, which initiates and leads, hence it is referred to as "created." Rites belong to the yin, which establishes structure in response to the yang; therefore, they are referred to as "established." Music symbolizes the yang, and rites emulate the yin. | ||
| 5 | 禮樂: |
王者始起，何用正民？以為且用先王之禮樂，天下太平，乃更制作焉。《書》曰：「肇修殷殷禮，祀新邑。」此言太平去殷禮。《春秋傳》曰：「昌何為不修乎近而修乎遠，同己也，可因先以太平也。」必復更制者，示不襲也，又天下樂之者。樂者所以象德表功殊名。《禮記》曰：「黃帝樂曰《咸池》，顓頊樂曰《六莖》，帝嚳樂曰《五英》，堯樂曰《大章》，舜樂曰《簫韶》，禹樂曰《大夏》，湯樂曰《大護》。周樂曰《大武象》，周公之樂曰《酌》，合曰《大武》。」黃帝曰《咸池》者，言大施天下之道而行之，天之所生，地之所載，咸蒙德施也；顓頊曰《六莖》者，言和律曆以調陰陽，莖者著萬物也；帝嚳曰《五英》者，言能調和五聲以養萬物，調其英華也；堯曰《大章》，大明天地人之道也；舜曰《簫韶》者，舜能繼堯之道也，禹曰《大夏》者，言禹能順二聖之道而行之，故曰《大夏》也；湯曰《大護》者，言湯承衰，能護民之急也；周公曰《酌 合1》者，言周公輔成王，能斟酌文武之道而成之也；武王曰《象》者，像太平而作樂，示已太平也；合曰《大武》者，天下始樂周之征伐行武，故詩人歌之：「王赫斯怒，爰整其旅。」當此之時，天下樂文王之怒，以定天下，故樂其武也。周室中制《象湯》樂何？殷紂為惡日久，其惡最甚，斫涉刳胎，殘賊天下。武王起兵，前歌後舞。克殷之後，民人大喜，故中作所以節喜盛。 |
| When a sovereign first rises to power, what means does he use to correct and guide the people? He believes that by employing the rites and music of former sage kings, peace and stability can be achieved throughout the world; only then does he proceed to revise and create new ones. The Book of Documents states: "He began to repair the solemn rites, offering sacrifices in the newly established city." This statement indicates that peace and stability require moving beyond the rites of Yin. The Commentary on the Spring and Autumn Annals states: "Why did Chang not repair what was near but instead repaired what was distant? Because he found similarity in himself; thus, it is possible to rely upon former precedents for peace and stability." It is necessary to revise and reform them in order to show that one does not merely imitate the past, as well as to reflect what the people of the world joyfully accept. Music is used to symbolize virtue, honor achievements, and distinguish different names and titles. The Book of Rites states: "The music of the Yellow Emperor was called Xianchi, that of Zhuanxu was Liu Jing, that of Di Ku was Wu Ying, that of Yao was Dazhang, that of Shun was Xiaoshao, that of Yu was Daxia, and that of Tang was Dahuo. The music of the Zhou dynasty was called Dawu Xiang; the music of Duke of Zhou was called Zhuo. Together, they were known as Dawu." The music of the Yellow Emperor called Xianchi signifies that he widely implemented the Way for the benefit of all under heaven. All things born by Heaven and borne by Earth were universally blessed with virtue and grace; Zhuanxu's music called Liu Jing signifies that he harmonized the musical scales and calendar to regulate yin and yang; "Jing" denotes the flourishing of all things. Di Ku's music called Wu Ying signifies that he was able to harmonize the five tones to nurture all things, cultivating their finest essences; Yao's music was called Dazhang, signifying his clear illumination of the Way of Heaven, Earth, and humanity. Shun's music was called Xiaoshao, signifying that Shun could continue Yao's Way; Yu's music was called Daxia, indicating that Yu was able to follow the path of these two sage kings and thus it is named Daxia. Tang's music was called Dahuo, signifying that Tang inherited a time of decline and was able to protect the people from distress; Duke of Zhou's music, called Zhuo He, signifies that Duke of Zhou assisted King Cheng and was able to carefully consider and integrate the Way of Wenwang and Wuwang in order to perfect it; Wuwang's music called Xiang signifies that it was composed to symbolize a time of peace and prosperity, demonstrating that tranquility had already been achieved; The combined name "Dawu" signifies that, at the beginning of the Zhou dynasty, the people rejoiced in its military campaigns and martial achievements; hence, poets sang: "The king was wrathful and mighty, assembling his troops for battle." At that time, the people of the world rejoiced in King Wen's righteous anger, which brought stability to all under heaven; thus they celebrated his martial virtue. Why did the Zhou dynasty create the Xiangtang music during its middle period? The Yin king Zhou had long committed evils, and his wickedness was most extreme—he cut off limbs and opened pregnant bellies, committing cruel atrocities against the people of the world. King Wu raised an army, with singing in front and dancing behind. After defeating the Yin, the people greatly rejoiced; therefore, during this middle period, music was created to regulate and express the intensity of their joy.
1. 合 : 刪除。 據《抱經堂叢書》本刪。 | ||
| 6 | 禮樂: | 天子八佾，諸侯四佾，所以別尊卑。樂者陽也，故以陰數。法八風、六律、四時也。八風、六律者，天氣也，助天地成萬物者也，亦猶樂，所以順氣，變化萬民，成其性命也。故《春秋公羊傳》曰：「天子八佾，諸公六佾，諸侯四佾。」《詩》曰：「大夫士，琴瑟御。」八佾者何謂也，佾者列也，以八人為行，列八八六十四人也。諸公六六為行；諸侯四四為行。諸公謂三公、二王后。大夫士，北面之臣，非專事子民者也，故但琴瑟而已。 |
| The Son of Heaven had eight rows of dancers, feudal lords four rows; this served to distinguish ranks and hierarchy. Music belongs to yang, hence it is measured by yin numbers. It follows the Eight Winds, Six Musical Scales, and Four Seasons. The Eight Winds and Six Musical Scales represent the forces of Heaven; they assist Heaven and Earth in bringing forth all things. Similarly, music follows these natural energies to transform the people, guiding their lives and shaping their natures. Therefore, the Gongyang Commentary on the Spring and Autumn Annals says: "The Son of Heaven has eight rows of dancers; marquises have six rows; feudal lords have four rows." The Book of Songs states: "For officials and scholars, the qin and se are played in harmony." What is meant by eight rows (bayan)? A "yi" refers to a row; each row consists of eight people, forming eight rows with a total of sixty-four dancers. Marquises arranged six people per row; feudal lords arranged four people per row. "Marquises" refers to the Three Dukes and the descendants of the two former royal houses. Officials and scholars were subjects who faced north, not those solely responsible for governing the people; therefore, they only played the qin and se. | ||
| 7 | 禮樂: | 王者有六樂者，貴公美德也。所以作供養。傾先王之樂，明有法，示亡其本。興己所以自作樂，明作己也。 |
| A sovereign has six types of music to honor public virtue and moral excellence. To provide offerings and sustenance. Revering the music of former sage kings demonstrates adherence to established principles and shows that one does not forget their origins. Creating one's own music signifies asserting individuality and demonstrating self-expression. | ||
| 8 | 禮樂: | 樂所以作四夷之樂何？德廣及之也。《易》曰：「先王以作樂崇德，殷薦之上帝，以配祖考。」《詩》云：「奏鼓簡簡，衎我烈祖。」《樂元語》曰：「受命而六樂。樂先王之樂，明有法也；與其所自作，明有制；興四夷之樂，明德廣及之也。」故南夷之樂曰《兜》，西夷之樂曰《禁》，北夷之樂曰《昧》，東夷之樂曰《離》。合歡之樂人舞於堂，四夷之樂陳於右，先王所以得之，順命重始也。 |
| Why is music composed to incorporate the music of the four border regions? It signifies that virtue has extended broadly, reaching even the distant regions. The Book of Changes states: "Former kings composed music to honor virtue, offering it abundantly to Heaven, in order to accompany their ancestors." The Book of Songs says: "Drums are struck with solemn rhythm, rejoicing our illustrious ancestors." The Yueyuanyu states: "Upon receiving the Mandate, six types of music were established." Revering the music of sage kings demonstrates adherence to principle and order; and incorporating one's own compositions shows that there is established regulation. Incorporating the music of the four frontier regions demonstrates that virtue has broadly extended to reach them as well." Therefore, the music of southern frontier peoples was called Dou, that of western frontier peoples was Jin, that of northern frontier peoples was Mei, and that of eastern frontier peoples was Li. The music for joyous union had people dancing in the hall, while the music of the four frontiers was arranged on the right side; this is how sage kings achieved harmony—by following Heaven's Mandate and revering the beginning. | ||
| 9 | 禮樂: | 此言以人得之，先以文，謂持羽毛人舞也；以武得之，先以武，謂持干戚儛也。《樂元語》曰：「東夷之樂持矛舞，助時生也；南夷之樂持羽舞，助時養也；西夷之樂持戟舞，助時煞也。」北夷之樂持干舞助時藏也，誰制夷狄之樂？以為先聖王也。先王惟行道德，和調陰陽，覆被夷狄，故夷狄安樂，來朝中國，於是作樂樂之。《南》之為言任也，任養萬物；《味》之為言昧也，昧者，萬物老衰，禁者萬物禁藏，侏離者萬物微離地而生。 |
| This means that when people attained harmony, they first used ritual music; this refers to those holding feathers dancing. If one achieved harmony through martial virtue, the emphasis was first on military might; this refers to people holding shields and axes dancing. The Yueyuanyu says: "The music of the eastern frontier peoples involves holding spears while dancing, assisting in promoting life; the music of the southern frontier peoples involves holding feathers while dancing, assisting in nurturing growth; the music of the western frontier peoples involves holding halberds while dancing, assisting in bringing about destruction." The music of the northern frontier peoples involves holding shields while dancing, assisting in facilitating concealment and storage—then who established the music of these frontier peoples? It was considered to have been established by former sage kings. Former kings practiced virtue and morality, harmonizing the yin and yang forces, extending their benevolence to the frontier peoples. Thus, these frontier peoples found peace and happiness, coming to pay homage to China; therefore, music was composed to celebrate them. The term "Nan" means bearing or carrying, signifying the nurturing of all things; The term "Wei" means obscurity, for in obscurity all things grow old and decline; Jin signifies restraint, as all things are restrained and stored away; Zhu Li indicates that all things begin to emerge from the earth in a subtle manner. | ||
| 10 | 禮樂: | 一說東方持矛，南方歌，西方戚，北方擊金。夷狄質，不如中國中國文章，但隨物名之耳，故百王不易戚二者制夷狄樂。不制夷狄禮何？以為禮者，身當履而行之，夷狄之人不能行禮；樂者，聖人作為以樂之耳，故有夷狄樂也。殊為舞者？以為使中國人。何以言之？夷狄之人禮不備，恐有過誤也。作之門外者何？夷在外，故就之也。夷狄無禮義，故不在內。《明堂記》曰：「九夷之國，在東門之外。」所以知不在門內也。《明堂記》曰：「禹納蠻夷之樂於太廟。」言納，明有入也。 |
| Another interpretation says: In the east, one holds spears; in the south, singing takes place; in the west, axes are held; and in the north, metal instruments are struck. The frontier peoples were simple-minded, lacking the cultural sophistication of China; they merely gave names according to things as they were. Therefore, throughout the ages, no ruler changed the two forms—axes and drums—for the music of these frontier regions. Why was ritual not established for the frontier peoples? It is considered that rites require one to personally perform and follow them, but the people of the frontiers are unable to carry out such rites; Music is something sage kings created merely to bring joy, hence there exists music for the frontier peoples as well. Why are different dances performed? It is considered to be done in order to involve people from China. How can this be explained? Because the frontier peoples lack complete ritual training, there is a fear of mistakes or errors. Why are they performed outside the gate? Because the frontier peoples dwell beyond, one approaches them there. The frontier peoples lack rites and righteousness; therefore, they are not brought inside. The Mingtang Ji states: "The nine frontier nations of the east dwell beyond the eastern gate." This is how we know they are not within the gates. The Mingtang Ji states: "Yu incorporated the music of barbarian and foreign peoples into the Grand Ancestral Temple." The term "na" indicates inclusion, clearly meaning that they were brought in. | ||
| 11 | 禮樂: | 曰四夷之樂者何謂也？以為四夷外無禮義之國，數夷狄者從東，故舉本以為之總名也。言夷狄者，舉終始也；言蠻，舉遠也；言貉，舉惡也。則別之，東方為九夷，南方為八蠻，西方為六戎，北方為五狄。故《曾子問》曰：「九夷、八蠻、六戎、五狄、百姓之難至者也。」 |
| What is meant by the music of the four frontier peoples? It is considered that the "four frontiers" refer to foreign lands beyond China's borders where rites and righteousness are not practiced. Since the enumeration of frontier peoples begins from the east, this term serves as a general designation summarizing them all. The terms "Yi" and "Di" are used to denote the beginning and end; the term "Man" signifies distance; the term "He" signifies moral deficiency. Thus, they are distinguished: the east is known as the Nine Yi, the south as the Eight Man, the west as the Six Rong, and the north as the Five Di. Therefore, The Zengzi Wen states: "The Nine Yi, Eight Man, Six Rong, Five Di, and the common people are those who may come from distant lands." | ||
| 12 | 禮樂: | 何以知夷在東方？《禮王制》曰：「東方曰夷，被髮文身；又曰：南方曰蠻，雕題交趾；西方曰戎，被發衣皮；北方曰狄，衣羽毛穴居。」東所以九何？蓋來者過九之為言究也，德遍究，故應德而來亦九也，非故為之，道自然也。何以名為夷蠻？曰：聖人本不治外國，非為制名也，因其國名而言之耳。一說曰：名其短而為之制名也。夷者，聚狄無禮義。東方者，少陽易化，故取名也。北方太陰鄙卻，故少蠻蟲難化，執心違邪。戎者，強惡也。狄者，易也，辟易無別也。 |
| How do we know that the Yi peoples dwell in the east? The Rites: Wangzhi states: "In the east are the Yi, who let their hair hang loose and tattoo their bodies;" It also says: "In the south are the Man, who paint their foreheads and cross their feet;" the west is called Rong, where people let their hair hang loose and wear animal hides; the north is called Di, where people wear feathers and furs and dwell in caves." Why are there nine Yi in the east? It is because when they come, their number exceeds nine; the term "jiu" signifies thoroughness. Virtue has reached all corners thoroughly, so those who respond to virtue and arrive also amount to nine—this is not deliberately arranged but follows the natural order of things. Why are they named Yi and Man? It is said: Sage kings originally did not govern foreign lands, so they did not deliberately create names for them; these are merely terms derived from the names of those countries. Another interpretation says: They were given these names to denote their shortcomings, thus establishing such designations for them. Yi refers to a gathering of Di people who lack rites and righteousness. The east is associated with Shaoyang, where transformation is easy, hence the name was taken. The north is associated with Taiyin, which is remote and resistant; therefore, few Man or insect-like peoples there are easily transformed, stubborn in their hearts and deviating from the righteous path. Rong refers to those who are strong and wicked. Di means "easy" or "unrestrained"—indicating a people who act without distinction or restraint. | ||
| 13 | 禮樂: | 歌者在堂上，舞在堂下何？歌者象德，舞者象，君子上德而下功。《郊特牲》曰：「歌者在上。」《論語》曰：「季氏八佾舞於庭。」《書》曰：「下管鞀召鼓，笙鏞以間。」 |
| Why are singers on the upper hall and dancers below it? Singers symbolize virtue, while dancers represent action; thus, gentlemen place virtue above and achievement below. The Jiaote Sheng states: "Singers are positioned above." The Analects says: "The Ji family used eight rows of dancers in their courtyard." The Book of Documents states: "Below, the guan and tao are played along with drums; sheng and yong instruments alternate in between." | ||
| 14 | 禮樂: | 降神之樂在上何？為鬼神舉。故《書》曰：「戛擊鳴球、搏拊、琴瑟，以詠，祖考來格。」何以用鳴球、搏拊者何？鬼神清虛，貴淨賤鏗鏘也。故《尚書大傳》曰：「搏拊鼓，裝以秉。琴瑟，練絲朱絃。」鳴者，貴玉聲也。 |
| Why is the music for summoning spirits positioned above? It is raised in honor of ghosts and gods. Therefore, the Book of Documents says: "Striking jade chimes, clapping, playing the qin and se, singing—thus ancestors come to partake." Why are jade chimes and hand-clappers used? Ghosts and gods are pure and ethereal, valuing stillness and purity while disfavoring loud and clashing sounds. Therefore, the Shangshu Dachuan states: "Hand-clappers and drums are used, held in one's hand." The qin and se are made with refined silk strings dyed red. "Chime" refers to the value placed on the sound of jade. | ||
| 15 | 禮樂: | 王者食所以有樂何？樂食天下之太平、富積之饒也，明天子至尊，非功不食，非德不飽，故《傳》曰：「天子食時舉樂。」王者所以日食者何？明有四方之物，食四時之功也。四方不平，四時不順，有徹樂之法焉，所以明至尊著法戒也。王平居中央，制御四方。平旦食，少陽之始也；晝食，太陽之始也；脯食，少陰之始也；暮食，太陰之始也。《論語》曰：「亞飯干適楚，三飯繚適蔡，四飯缺適秦。」諸侯三飯，卿大夫再飯，尊卑之差也。《弟子職》曰：「暮食士偃禮。」士也；食力無數，庶人職在耕桑，戮力勞役，飯即食，飽即作，故無數。 |
| Why do kings have music associated with their meals? Music accompanies the king's meals to signify the peace and prosperity of the realm, as well as its abundance. It also demonstrates that a true Son of Heaven is supreme—only those with merit may partake in food, and only those with virtue may be satisfied. Hence, The Commentary states: "The Son of Heaven raises music at mealtime." Why do kings eat daily? It signifies the availability of goods from all four directions and the consumption of the achievements of the four seasons. If the four directions are not in harmony or the four seasons do not proceed smoothly, there is a law to suspend music; this serves to emphasize the supreme authority and to establish clear warnings and admonitions. The king resides in the center during times of peace, governing and controlling all four directions. Eating at dawn marks the beginning of Shaoyang; eating during the day marks the beginning of Taiyang; the meal of dried meat marks the beginning of Shaoyin; and the evening meal marks the beginning of Taiyin. The Analects states: "Ya Fan Gan went to Chu, San Fan Liao went to Cai, and Si Fan Que went to Qin." Princes of the states had three meals, while high officials and great ministers had two meals—this reflects the distinction between ranks. The Disciples' Code states: "At evening mealtime, scholars should lay aside rituals." Scholars; They eat as much as their labor requires. Commoners, whose duties lie in farming and sericulture, toil diligently with no fixed schedule; they eat when hungry and work when full, hence without set limits on meals. | ||
| 16 | 禮樂: | 禮樂者，何謂也？禮之為言履也，可履踐而行樂者。君子樂得其道，小人樂得其欲。聲者，何謂。聲鳴也，聞其聲即知其所生；音者，飲也，言其剛柔清濁和而相飲也。《尚書》曰：「予欲聞六律、五聲、八音。」五聲者，何謂也？宮、商、角、徵、羽，土謂宮，金謂商，木謂角，火謂徵，水謂羽。月令曰：盛德在木，其音角，又曰：盛德在火，其音徵，盛德在金其音商，盛德在水，其音羽。所以名之為角者，躍也，陽氣動躍；徵者，止也，陽氣止；商者，張也，陰氣開張，陽氣始降也；羽者，紆也，陰氣在上，陽氣在下；宮者，容也，含也，含容四時者也。 |
| What is meant by rites and music (li yue)? The term "li" means to tread or practice, referring to conduct that can be followed and enacted; music is the joy derived from such practices. Gentlemen find joy in attaining the Way, while common people find joy in fulfilling their desires. What is meant by "sound"? Sound refers to resonance; when one hears a sound, they can discern its origin. Yin means "to drink," indicating that the rigid and soft, clear and turbid tones blend together in harmony, just as one drinks. The Book of Documents states: "I wish to hear the Six Laws, Five Sounds, and Eight Tones." What is meant by the Five Sounds? The Five Sounds are Gong, Shang, Jue, Zhi, and Yu. Earth corresponds to Gong, metal to Shang, wood to Jue, fire to Zhi, and water to Yu. The Yue Ling states: When virtue is flourishing in wood, the corresponding tone is Jue; it also says that when virtue flourishes in fire, the corresponding tone is Zhi; when virtue flourishes in metal, the corresponding tone is Shang; and when virtue flourishes in water, the corresponding tone is Yu. The reason it is named Jue is because it signifies "leaping"—the yang energy stirs and leaps; Zhi means "to stop," as the yang energy ceases its movement; Shang means "expansion," for the yin energy expands, and the yang energy begins to descend; Yu means "to wind" or "to coil," as the yin energy is above and the yang energy is below; Gong means "accommodation" or "containment," for it represents the capacity to contain and harmonize the four seasons. | ||
| 17 | 禮樂: | 八音者，何謂也？《樂記》曰：「土曰塤，竹曰管，皮曰鼓，匏曰笙，絲曰絃，石曰磬，金曰鐘，木曰柷敔。」此謂八音也。法《易》八卦也，萬物之數也；八音，萬物之聲也。所以用八音何？天子承繼萬物，當知其數。既得其數，當知其聲，即思其形。如此蜎飛蠕動，無不樂其音者，至德之道也。天子樂之，故樂用八音。《樂記》曰：「塤，坎音也；管，艮音也；鼓，震音也；絃，離音也；鐘，兌音也；柷敔，乾音也。」塤在十一月，塤之為言勳也，陽氣於黃泉之下，勳蒸而萌；匏之言施也，在十二月，萬物始施而勞。笙者，太蔟之氣，像萬物之生，故曰笙。有七正之節焉，有六合之和焉，天下樂之，故謂之笙。鼓，震音煩氣也。萬物憤懣震動而出，雷以動之，溫以暖之，風以散之，雨以濡之，奮至德之聲，感和平之氣也，同聲相應，同氣相求，神明報應，天地佑之，其本乃在萬物之始耶，故謂之鼓也。鞀者，震之氣也，上應卯星以通王道，故謂之鞀也。簫者，中之氣，萬物生於無聲，見於無形，僇也，簫也，故謂之簫。簫者以祿為本，言承天繼物為民，本人力加，地道化，然後萬物戮也，故謂之簫也。瑟者，嗇也，閒也，所以懲忽宮商角則宜。君父有節，臣子有義，然後四時和，四時和然後萬物生，故謂之瑟也。琴者，禁也，所以禁止淫邪、正人心也。磬者，夷則之氣也，像萬物之盛也，其氣磬，故曰磬，有貴賤焉，有親踈焉，有長幼焉，朝廷之禮，貴不讓賤，所以有尊卑也；鄉黨之禮，長不讓幼，所以明有年也；宗廟之禮，親不讓踈，所以有親也。此三者行然後王道得，王道得然後萬物成，天下樂用磬也。鐘之為言動也，陰氣用事，萬物動成，鐘為氣，用金聲也。鎛者，時之氣聲也，節度之所生也。君臣有節度則萬物昌，無節度則萬物亡，亡與昌正相迫，故謂之鎛。柷敔者，終始之聲，萬物之所生也。陰陽順而復，故曰柷；承順天地，序迎萬物，天下樂之，故樂用柷。柷，始也；敔，終也。一說笙、柷、鼓、簫、瑟、塤、鐘、磬也。如其次，笙在北方，柷在東北方，鼓在東方，琴在南方，塤在西南方，鐘在西方，磬在北方。 |
| What is meant by the Eight Tones? The Yue Ji states: "Clay is called Xun, bamboo is called Guan, leather is called Gu, gourd is called Sheng, silk is called Xian, stone is called Qing, metal is called Zhong, and wood is called Zhu Yu." This is what is meant by the Eight Tones. It follows the eight trigrams of the Yi Jing, representing the numerical patterns of all things in the universe; The Eight Tones are the sounds of all things in the world. Why are the Eight Tones used? The Son of Heaven inherits all things and should understand their numerical patterns. Having grasped the numbers, one should then know their sounds, and thus contemplate their forms. In this way, even the smallest crawling and flying creatures find joy in these sounds—this is the Way of supreme virtue. The Son of Heaven finds joy in them; therefore, music employs the Eight Tones. The Yue Ji states: "Xun corresponds to the tone of Kan; Guan corresponds to the tone of Gen; Gu corresponds to the tone of Zhen; Xian corresponds to the tone of Li; Zhong corresponds to the tone of Dui; Zhu Yu correspond to the tone of Qian." Xun is associated with the eleventh month. The term Xun signifies "merit," for yang energy, lying beneath the yellow springs, rises and germinates through its meritorious vapor; Pao means "to spread" or "to extend," and it is associated with the twelfth month, when all things begin to spread forth and labor. Sheng represents the qi of Tai Cu; its form symbolizes the birth of all things, hence it is called Sheng. It embodies the seven proper rhythms and the harmony of the six unifications; all under heaven find joy in it, hence it is called Sheng (sheng). The drum corresponds to the Zhen tone and represents agitated qi. All things, stirred by agitation and movement, emerge outward. Thunder stirs them, warmth nurtures them, wind disperses them, and rain moistens them—thus manifesting the sound of supreme virtue and evoking a sense of harmonious qi. Like sounds respond to one another; like energies seek each other out. Divine forces offer response, and heaven and earth bestow their protection. The origin lies in the beginning of all things; hence it is called Gu (the drum). Tao represents the qi of Zhen, corresponding above to the Mao star in order to communicate the royal way; hence it is called Tao. Xiao represents central qi, for all things originate in silence and manifest without form—this is called Lu or Xiao; hence it is named Xiao. Xiao takes "Lu" (blessings) as its foundation, signifying the Son of Heaven's responsibility to inherit from heaven and nurture all things for the people. Through human effort applied and the transformation of the earth's nature, all things then emerge—hence it is called Xiao. Se means "to restrain" and "to be quiet," for it serves to correct the sudden shifts between Gong, Shang, and Jue, thus making them appropriate. When a ruler-father maintains propriety and ministers-children uphold righteousness, the four seasons then harmonize; when the four seasons are in harmony, all things come to life—hence it is called Se (the zither). Qin means "to restrain," for it serves to prohibit licentiousness and evil, thus rectifying the minds of people. Qing represents the qi of Yi Ze, symbolizing the flourishing of all things. Its energy is firm and resonant, hence it is called Qing. There are distinctions between noble and humble, close and distant, elder and younger; courtly rites establish that nobility does not yield to humility, thus establishing hierarchy and rank; In the rites of local communities, elders do not yield to the young, thereby clarifying distinctions in age; In the rites of ancestral temples, the close relatives do not yield to distant ones, thus establishing bonds of kinship. When these three distinctions are observed, the royal way is realized; when the royal way is realized, all things flourish—thus, all under heaven joyfully employ the Qing (stone chime). Zhong means "movement," for yin energy prevails, and all things move toward completion. Zhong represents this qi, employing the sound of metal. Bo represents the tone and energy of a season, arising from the regulation of timing and rhythm. When rulers and ministers observe proper measures, all things flourish; when they do not, all things perish. Perishing and flourishing are directly opposed to each other—hence it is called Bo. Zhu Yu represent the sounds of beginning and end, symbolizing the origin of all things in the world. When yin and yang proceed smoothly and return to their cycle, it is called Zhu; It follows the order of heaven and earth, arranging and welcoming all things—thus all under heaven find joy in it; therefore, music employs Zhu. Zhu signifies the beginning; Yu signifies the end. One interpretation lists the Eight Tones as Sheng, Zhu, Gu, Xiao, Se, Xun, Zhong, and Qing. In this order, Sheng is located in the north; Zhu in the northeast; Gu in the east; Qin in the south; Xun in the southwest; Zhong in the west; and Qing also in the north. | ||
| 18 | 禮樂: | 聲五音八何？聲為本，出於五行；音為末，像八風，故《樂記》曰：「聲成文謂之音，知音而樂之謂之樂也。」 |
| What are the Five Tones and Eight Sounds? Sound is fundamental, originating from the Five Elements; Tone is derivative, resembling the Eight Winds. Hence, the Yue Ji states: "When sound forms patterns, it is called Yin; to understand Yin and find joy in it is called Yue (music)." | ||
| 19 | 禮樂: | 問曰：「異說並行，則弟子疑焉。」孔子有言：「吾聞擇其善者而從之，多見而志之，知之次也。」「文武之道，未墜於地。」「天之將喪斯文也，樂亦在其中矣。」聖人之道，猶有文質，所以擬其說、述所聞者，亦各傳其所受而已。 |
| It was asked: "With differing interpretations circulating together, the disciples become doubtful." Confucius said: "I have heard that one should select what is good and follow it, observe much and remember it—this is the next best way to knowledge." "The Way of Wen and Wu has not yet fallen to the ground." "If heaven is about to let this culture perish, music would also be among it." The Way of the sage still possesses both form and substance; therefore, those who propose interpretations or recount what they have heard merely transmit what they themselves have received. |
URN: ctp:bai-hu-tong/li-yue