| | 聲音: |
《易》稱：「先王作樂崇德，殷薦之上帝以配祖考。」《詩》云：「鐘鼓鍠鍠，磬管鎗鎗，降福穰穰。」《書》曰：「擊石拊石，百獸率舞。」鳥獸且猶感應，「而況於人乎？況於鬼神乎？」 |
| | The Yijing states: "Former kings composed music to honor virtue and offered it in abundance to the Supreme Deity, matching it with their ancestors." The Shijing says: "Bells and drums resound, chimes and flutes echo; blessings descend in abundance." The Shangshu states: "Striking stones and patting stones, all beasts lead the dance." Even birds and beasts are moved by such influences; how much more so then is it for human beings? How much more so for spirits and deities?"
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夫樂者，聖人所以動天地、感鬼神、按萬民、成性類者也。故黃帝作《咸池》，顓頊作《六莖》，嚳作《五英》，堯作《大章》，舜作《韶》，禹作《夏》，湯作《護》，武王作《武》，周公作《勺》。《勺》、言能斟勺先祖之道也，《武》、言以功定天下也，《護》、言救民也，《夏》、大承二帝也，《韶》、繼堯也，《大章》、章之也，《五英》、英華茂也，《六莖》、及根莖也，《咸池》、備矣。 |
| | Music is what the sage uses to move heaven and earth, touch spirits and deities, regulate the people, and complete human nature and categories. Therefore, Huangdi composed "Xianchi," Zhuanxu composed "Liu Jing," Ku composed "Wuying," Yao composed "Dazhang," Shun composed "Shao," Yu composed "Xia," Tang composed "Hu," King Wu composed "Wu," and the Duke of Zhou composed "Suo." "Suo"—speaks of being able to measure and pour forth the way of ancestors; "Wu"—speaks of establishing the world through merit; "Hu"—speaks of rescuing the people; "Xia"—greatly continuing two emperors; "Shao"—continuing Yao; "Dazhang"—proclaiming it; "Wuying"—the flourishing bloom; "Liu Jing"—reaching roots and stems; "Xianchi"—complete.
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其後周室陵遲，禮崩樂壞，諸侯恣行，競悅所習，桑間、濮上，鄭、衛、宋、趙之聲，彌以放遠，滔湮心耳，乃忘平和，亂政傷民，致疾損壽。重遭暴秦，遂以闕忘。漢興，制氏世掌大樂，頗能紀其鏗鏘，而不能說其義。武帝始定郊祀、巡省告封，樂官多所增飾，然雅，故繼其條暢曰《聲音》也。 |
| | Later, as the Zhou dynasty declined, rites collapsed and music deteriorated; feudal lords acted at will, competing to please their habits. The music of Sangjian and Pushang from Zheng, Wei, Song, and Zhao spread further into indulgence, overwhelming minds and ears, causing people to forget harmony, disrupting governance and harming the people, leading to illness and shortened lifespans. Severely affected by the tyrannical Qin dynasty, they were eventually lost and forgotten. When the Han dynasty rose to power, the Zhi family held successive positions in major music administration and could somewhat record its resounding sounds but were unable to explain their meanings. Emperor Wu first established sacrifices at the suburbs, inspections of provinces and announcements of enshrinements; music officials added many embellishments. However, it remained elegant, so continuing its smooth progression was called "Shengyin" (Sounds).
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昔皇帝使伶倫自夏之西、崑崙之陰，竹於嶰谷生，其竅者，斷兩節而吹之，為黃鐘之管，制十二，以聽鳳之鳴，其雄鳴為六，雌鳴亦為六。天地之風氣正而十二律之，五聲於是乎生，八音於是乎出。聲者，宮、啇、角、徵、羽也。音者，土曰塤，匏曰笙，革曰鼓，竹曰管，絲曰絃，石曰磬，金曰鐘，木曰柷。《詩》曰：「鶴鳴九皋，聲聞于天。」《書》：「八音克諧，無相奪倫。」由是言之，聲本音末也。 |
| | In the past, Emperor Huangdi sent Ling Lun to the west of Xia and the north side of Kunlun. There he found bamboo growing in Xiegou Valley; those with natural holes were cut between two sections and blown, becoming the Huangzhong pitch pipe. Twelve such pipes were made to listen to the phoenix's song: its male call produced six tones, and its female call also produced six. When the winds and qi of heaven and earth were in harmony, they formed the twelve pitch standards; thus arose the five tones, and from them came the eight kinds of musical instruments. The sounds are: Gong, Shang, Jue, Zhi, Yu. The musical instruments are: earth produces the xun, gourd produces the sheng, leather produces the drum, bamboo produces the guan, silk produces the xian, stone produces the qing, metal produces the zhong, and wood produces the zhu. The Shijing says: "The crane cries from a distant marsh; its sound reaches heaven." The Shangshu says: "The eight kinds of music harmonize perfectly, none surpassing the others in order." From this we may say that sound is fundamental while musical instruments are secondary.
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| | 羽: |
謹按：劉歆《鐘律書》：「羽者、宇也，物聚藏，宇覆之也。」五行為水，五常為智，五事為德，凡歸為物。故聞其宮聲，使溫潤而廣大；聞其啇聲，使人方正而好義；聞其角聲，使人整齊而好禮；聞其徵聲，使人惻隱而博愛；聞其羽聲，使人善養而好施。宮聲亂者，則其君驕；啇聲錯者，則其臣壞；角聲繆者，則其民怨；徵聲洪者，則其事難；羽聲差者，則其物亂。春宮秋律，百卉必彫；秋宮春律，萬物必榮；夏宮冬律，雨雹必降；冬宮夏律，雷必發聲。夫音樂至重，所感者大。故曰：「知禮樂之情者能作，識禮樂之文者能述。作者之謂聖，述者之謂明，明聖者、述作之謂也。」 |
| | Jin an: Liu Xin's Zhonglv Shu states, "Yu zhe, yu ye; wu ju cang, yu fu zhi ye." The Five Elements corresponds to water; the Five Constants corresponds to wisdom; the Five Affairs corresponds to virtue; all return and belong to things. Therefore, hearing its Gong tone makes one feel warm, moist, and expansive; hearing its Shang tone makes a person square-jawed and upright, fond of righteousness; Hearing its Jue tone makes people orderly and respectful of rituals; Hearing its Zhi tone makes people compassionate and broadly loving; Hearing its Yu tone makes people good at nurturing others and fond of giving. When the Gong tone is disordered, it indicates that the ruler is arrogant; When the Shang tone is incorrect, it means the ministers are corrupt; When the Jue tone is erroneous, it indicates that the people harbor resentment; When the Zhi tone is loud, it signifies that affairs are difficult; When the Yu tone is off, then things become chaotic. If the Gong tone prevails in spring and the Lü law dominates in autumn, all kinds of flowers will wither; If the Gong tone prevails in autumn and the Lü law governs in spring, all things will flourish; If the Gong tone dominates in summer and the Lü law controls winter, hail must fall; lık If the Gong tone prevails during winter and the Lü law rules in summer, thunder will surely sound. Music is of utmost importance, for its influence is profound. Therefore it is said: "Those who understand the spirit of rites and music can compose; those who recognize the forms of rites and music can narrate. "To compose is called sainthood, to narrate is called wisdom; those who are both wise and saintly are known as those who can both narrate and compose."
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| | 管: |
謹按：《詩》云：「嘒嘒管聲。」「簫管備舉。」《禮·樂記》：「管、漆竹長一尺，六孔，十二月之音也。物貫地而牙，故謂之管。」《尚書大傳》：「舜之時，西王母來獻其白玉琯。」昔章帝時，零陵文學奚景，於冷道舜祠下得生白玉管。知古以玉為管，後乃易之以竹耳。夫以玉作音，故神人和，鳳皇儀也。 |
| | Jin an: The "Shi Jing" says: "The sound of the guan is clear and bright." "The xiao and guan are all raised." The "Yi Ji" of the "Li Ji" says: "The guan, made from lacquered bamboo one chi in length with six holes, represents the music of the twelve months." "The object passes through the earth and sprouts, hence it is called guan." The "Shangshu Dachuan" says: "In the time of Shun, the Xiwangmu came to present her white jade guan." In former times, during the reign of Emperor Zhang, Xi Jing, a scholar from Lingling, found a white jade tube at the Shun Temple in Lengdao. It is known that in ancient times, jade was used for guan; later it was replaced by bamboo. Using jade to produce sound, therefore the divine and human are harmonized, which is the omen of the fenghuang.
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| | 瑟: |
謹按：《世本》：「宓羲作，八尺一寸，四十五絃。」《黃帝書》：「泰帝使素女鼓瑟而悲，帝禁不止，故破其瑟為二十五絃。」《春秋》：「師曠為晉平公奏清徵之音，有玄鶴二八從南方來，進於廊門之扈。再奏之而成列，三奏之，則延鵛而鳴，舒翼而舞。音中宮啇，聲聞于天。平公大說，坐者皆喜。平公提觴而起，為師曠壽，反坐而問曰：『音莫悲於清徵乎？』師曠曰：『不如清角。』平公曰：『清角可得聞乎？』師曠曰：『不可。昔黃帝駕象車，交龍，畢方並轄，蚩尤居前，風伯進掃，雨師灑道，虎狼在，後，䖝蛇伏地，大合鬼神於太山之上，作為清角。今主君德薄，不足以聽之，聽之，將恐有敗。』平公曰：『寡人老矣，所好者音也，願遂聞之。』師曠不得已而鼓之，一奏之，有雲從西北起；再奏之，暴風亟至，大雨灃沛，裂帷幕，破俎豆，墮廊瓦，凡坐者散走。平公恐懼，伏于室惻，身遂疾痛，晉國大旱，赤地三年。故曰：不務德治而好五音，則窮身之事也。」今瑟長五尺五寸，非正器也。 |
| | Jin an: The Shiben states: "Fuxi made it [the guqin], eight chi one cun in length, with forty-five strings." The Huangdi Shu states: "Tai Di sent Svnv to play the se, and she played with sorrow. The emperor could not stop her, so he broke her se into twenty-five strings." The Chunqiu states: "Shikuang played the qingzheng melody for King Ping of Jin, and sixteen black cranes came from the south, advancing to the Hu at the corridor gate." When played a second time, they formed a line; when played a third time, they extended their wings and called out, spreading their wings to dance. The pitch corresponded to the Gongshang mode, and the sound reached heaven. King Ping was greatly pleased, and those seated were all delighted. King Ping raised a cup and stood up to offer a toast to Shikuang, then sat down again and asked: "Is there no sorrow deeper than that of the qingzheng mode?" Shikuang said: "It is not as sorrowful as the Qingjiao mode." King Ping asked: "Can we hear the Qingjiao?" Shikuang said: "No, it cannot." In the past, Emperor Huangdi rode in a cart drawn by elephants, with twin dragons and Bifang pulling alongside. Chiyou stood at the front; Fengbo swept ahead, and Yushi sprinkled water on the road. Tigers and wolves followed behind, while the snake lay prostrate on the ground. On Mount Tai, he gathered together ghosts and spirits in a great assembly, and composed the Qingjiao. Now, Your Majesty's virtue is shallow; it is not sufficient to hear it. If you were to listen, I fear there might be misfortune." King Ping said: "I am old now; what I love is music. I wish to hear it nonetheless." Shikuang had no choice but to play it. When he played the first time, clouds arose from the northwest; When he played it a second time, fierce winds came swiftly, heavy rain poured down in torrents, tearing curtains and breaking ritual vessels, shattering tiles from the corridor; all those seated scattered and fled. King Ping was terrified and crouched in a corner of the room, and soon fell ill. The state of Jin suffered from a great drought, with barren land for three years. Therefore it is said: "Not pursuing virtue and governance but favoring the five tones of music leads to a life of misfortune." Now, the se is five chi five cun long; it is not an orthodox instrument.
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| | 鐘: |
謹按：《世本》：「垂作鐘。」秋分之音也。《詩》：「鼓鐘于宮，聲聞于外。」《論語》云：「樂云樂云，鐘鼓云乎哉！」周景王將鑄大鐘，單穆公諫：「夫先王之制鐘也，大不出均，重不過石，律度量衡於是乎生，小大器用於是乎出，故聖人慎之。今王作鐘，聽之弗及，比之不度，鐘磬不可以知和，制度不可以出節，無益於樂，而鮮民財，將焉用之！」 |
| | Jin an: The Shiben states: "Chui made bells." It is the sound of the Autumnal Equinox. The Shijing states: "Drumming bells in the palace, their sounds heard outside." The Lunyu says: "What is called joy and what is called joy—does it refer to bells and drums?" King Jing of Zhou was about to cast a large bell, and Duke Dan Mu advised: "When the former kings made bells, their size did not exceed the standard of jun, and their weight did not surpass that of shi. The laws governing pitch, measurement, capacity, and balance were established from this; thus, the sizes and uses of all vessels came into being. Therefore, sage rulers treated this matter with great caution." "Now, Your Majesty wishes to make a bell whose sound cannot be matched and which does not conform to the standard. Bells and stone chimes can no longer convey harmony; standards of measurement can no longer establish rhythm. It will bring no benefit to music but instead drain the people's wealth—what use is there for it?"
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| | 琴: |
謹按：《世本》：「神農作琴。」《尚書》：「舜彈五絃之琴，歌《南風》之詩，而天下治。」《詩》云：「我有嘉賓，鼓瑟鼓琴。」雅琴者、樂之統也，與八音並行。然君子所常御者，琴最親密，不離於身，非必陳設於宗廟鄉黨，非若鐘鼓羅列於虡懸也。雖在窮閻陋巷、深山幽谷，猶不失琴。以為琴之大小得中而聲音和，大聲不譁人而流漫，小聲不湮滅而不聞，適足以和人意氣，感人善心。故琴之為言禁也，雅之為言正也，言君子守正以自禁也。夫以正雅之聲，動感正意，故善心勝、邪惡禁。是以古之聖人君子，慎所以自感，因邪禁之適，故近之。間居則為從容以致思焉，如有所窮困，其道閉塞，不得施行，及有所通達而用事，則著之於琴，以杼其意，以示後人。其道行和樂而作者，命其曲曰《暢》。《暢》者、言其道之美暢，猶不敢自安，不驕不溢，好禮不以，暢其意也。其遇閉塞，憂愁而作者，命其曲曰《操》。《操》者、言遇菑遭害，困厄窮迫，雖怨恨失意，猶守禮義，不懼不懾，樂道而不失其操者也。伯子牙方鼓琴，鍾子期聽之，而意在高山，子期曰：「善哉乎！巍巍若太山。」頃之間而意在流水，鍾子又曰：「善哉乎！湯湯若江、河。」子期死，伯牙破琴絕絃，終身不復鼓，以為世無足為音者也。今琴長四尺五寸，法四時五行也。七絃者、法七星也。 |
| | Jin an: The Shiben states: "Shennong made the qin." The Shangshu says: "Shun played the five-stringed qin and sang the poem 'Nanfeng,' and thus the world was governed in harmony." The Shi says: "I have a distinguished guest; I play the se and qin." The yaqin is the overarching form of music, practiced alongside the eight kinds of musical instruments. Yet among the instruments commonly played by a gentleman, the qin is most intimate and never separated from his person; it need not be displayed in ancestral temples or local communities, unlike bells and drums arranged on frames. Even when living in poor alleys or remote mountain valleys, one still does not lose the qin. It is because the size of the qin is moderate and its sound harmonious; a loud tone does not overwhelm or disperse, while a soft tone does not vanish unheard. It is just sufficient to harmonize one's spirit and touch the goodness in people's hearts. Therefore, the term qin signifies restraint; ya means correctness. It indicates that a gentleman upholds righteousness to restrain himself. By using the correct and elegant tones, one stirs upright thoughts; thus, good intentions prevail and evil is restrained. Therefore, ancient sage gentlemen were cautious about what they used to move themselves; by appropriately restraining evil influences, they drew near to the right path. When in private, they would use the qin to cultivate composure and reflection. If they encountered difficulties or found their path blocked and unable to be implemented, or if something became clear and could be put into practice, they recorded it on the qin, expressing their thoughts and showing them to later generations. When the path was harmonious and joyful in its implementation, such compositions were named "Chang." "Chang" means that the beauty of its path is unimpeded; yet one still dares not to feel at ease, remaining neither arrogant nor excessive, and maintaining a love for propriety without indulgence—thus expressing one's meaning fully. When encountering obstructions and sorrow, compositions created in such moods were named "Cao." "Cao" means that when encountering misfortune and adversity, even in hardship and distress, although one may feel resentment or disappointment, one still upholds propriety and righteousness, without fear or hesitation—this is the person who finds joy in the Way and does not lose his integrity. Boziya was playing the qin when Zhong Ziqi listened to it, and his mind dwelled on high mountains. Ziqi said: "How excellent!" "Majestic as Mount Tai." "Vast and flowing like a great river." "Surging as the Yangtze and Yellow Rivers." After Ziqi's death, Boya smashed his qin and cut its strings, never again playing for the rest of his life, believing there was no one in the world worthy of hearing music. Now the qin is four chi and five cun long, symbolizing the four seasons and five elements. Its seven strings represent the Seven Stars.
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| | 筑: |
謹按：《太史公記》：「燕太子丹遣荊軻欲西刺秦王，與客送之易水，而設祖道。高漸離擊筑，荊軻和歌，為濮上音，士皆垂髮涕泣。後為羽聲慷慨，而索瞋目，髮盡上指冠。荊軻入秦，事敗而死，漸離變名易姓為人庸保，匿作於宋子。久之，作苦，聞其家堂上客擊筑，伎癢，不能出言，曰：『彼有善不善。』從者告其主，曰：『彼庸乃知音，竊言是非。』家丈人作樂，召前使擊筑，一坐稱美，賜酒。而漸離念久畏約毋窮已時，乃退，出裝匣中筑與其善衣，更容貌而前，莫不驚愕，下與亢禮，以為上客。使擊筑歌，無不涕泣而去者。宋子客傳之，聞於秦始皇。始皇召見，人有識者，乃高漸離。始皇惜其善擊筑，重殺之，乃矐其目。使擊筑，未嘗不稱善。稍益近之，漸離乃以鈆置筑木中，後進得近，舉筑扑始皇，不中。於是遂誅。」 |
| | Jin an: "Taishigong ji" ("Records of the Grand Historian"): "Yan Taizi Dan sent Jing Ke to assassinate King Qin in the west, and guests accompanied him as he departed Yishui, where a farewell ceremony was held." Gao Jianli played the zhong, Jing Ke harmonized with song, performing the music of Poshang, and all the men let their hair hang loose and wept bitterly. Later, when they performed in the style of the Wu mode with a bold and stirring tone, everyone became furious, glaring fiercely, their hair standing on end as it touched their hats. Jing Ke entered the state of Qin, failed in his mission, and died. Gao Jianli changed his name and surname, became a hired laborer, and hid and worked in Songzi. After a long time, he endured the hardships of labor. One day, hearing someone playing the zhong in the hall of his employer's house, he felt an intense urge to perform but could not speak out, saying only: "That performance was good or bad." His attendant informed his master, saying: "This hired laborer understands music and secretly comments on its merits and faults." The household's master held a musical performance, summoned him forward to play the zhong. The entire audience praised his performance and presented him with wine as a gift. However, Gao Jianli, thinking that his long-standing fear of being discovered would never end, withdrew and took out the zhong and his fine clothes from a case. He changed his appearance and returned to perform; everyone was astonished, rose to greet him with great respect, and treated him as an honored guest. When he played the zhong and sang, no one failed to weep and leave in sorrow. The guests from Songzi spread the story, which eventually reached the ears of Emperor Qin Shi Huang. Emperor Qin Shi Huang summoned him for an audience; some people recognized him and realized he was Gao Jianli. The emperor pitied his skill in playing the zhong, and did not wish to kill him outright; thus, he had Gao Jianli blinded. He was allowed to play the zhong, and each time his performance was always praised as excellent. Gradually, he was allowed to approach closer; Gao Jianli then placed lead inside the zhong's wooden frame. Later, when given a chance to come near, he raised the zhong to strike Emperor Qin Shi Huang but missed. Thus, he was executed."
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| | 缶: |
謹按：《易》稱：「日昃之離，不鼓缶而歌。」《詩》云：「坎其擊缶，宛丘之道。」缶者、瓦器，所以盛漿，秦人鼓之以節歌。《太史公記》：「趙惠文王與秦昭王會於澠池，秦王飲酒酣，曰：『寡人竊聞趙王好音，請奏瑟。』趙王鼓瑟。秦御史前曰：『某日秦王與趙王會飲，令趙王鼓瑟。』藺相如前曰：『竊聞秦王善為秦聲，請奏缶以相樂。』秦王怒，不許。於是相如進曰：『五步之內，相如請得以頸血濺大王矣！』左右欲刃相如，張目叱之，皆靡。於是秦王不懌，為一擊缶。相如顧召御史書曰：『秦王為趙王擊缶』也。」 |
| | Jin an: The Yijing says: "The li of a sun slanting westward, not beating the pottery jar and singing." The Shijing says: "Denting its pottery jars while striking them, this is the way of Wangu." A fou is a clay vessel; it was used to hold liquid. The people of Qin beat it to keep the rhythm while singing songs. The Taishigong Ji records: "Zhao Huawenwang and Qin Zhaowang met at Mianchi. When King Qin was drinking wine merrily, he said, 'I have secretly heard that King Zhao loves music; please play the se.'" King Zhao played the se. A Qin historian stepped forward and said: "On a certain day, King Qin and King Zhao dined together, and they made King Zhao play the se." Lin Xiangru stepped forward and said: "I have secretly heard that King Qin is good at playing the Qin music; please play the fou so we may enjoy ourselves together." King Qin became angry and refused. Thus, Xiangru advanced and said: "Within five paces, I Lin Xiangru request to be allowed to splatter my neck blood on Your Majesty!" Those around the king wanted to kill Xiangru with their weapons, but when he glared at them and scolded them fiercely, they all retreated. Thus King Qin was displeased and played the fou once. Xiangru turned around, summoned a historian to write down: 'King Qin played the fou for King Zhao.'"
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