| | 樂書: |
太史公曰：余每讀虞書，至於君臣相敕，維是几安，而股肱不良，萬事墮壞，未嘗不流涕也。成王作頌，推己懲艾，悲彼家難，可不謂戰戰恐懼，善守善終哉？君子不為約則修德，滿則棄禮，佚能思初，安能惟始，沐浴膏澤而歌詠勤苦，非大德誰能如斯！傳曰「治定功成，禮樂乃興」。海內人道益深，其德益至，所樂者益異。滿而不損則溢，盈而不持則傾。凡作樂者，所以節樂。君子以謙退為禮，以損減為樂，樂其如此也。以為州異國殊，情習不同，故博采風俗，協比聲律，以補短移化，助流政教。天子躬於明堂臨觀，而萬民咸蕩滌邪穢，斟酌飽滿，以飾厥性。故云雅頌之音理而民正，嘄噭之聲興而士奮，鄭衛之曲動而心淫。及其調和諧合，鳥獸盡感，而況懷五常，含好惡，自然之勢也？ |
| | Tai Shigong said: Whenever I read the Yu shu, and come to passages about rulers and ministers admonishing each other, maintaining stability in this way, yet when the supporting officials are not virtuous, all affairs fall into ruin, I have never failed to weep. King Cheng composed a hymn, reflecting on his own lessons and warnings, grieving over the family's calamity; could this not be called being constantly vigilant and cautious, skillfully preserving virtue until the end? A junzi, when not bound by constraints, cultivates virtue; when full of success, he does not abandon propriety. When at leisure, he can reflect on the beginning; in peace and security, he remembers the start. He bathes in the nourishing grace and sings praises of diligence and hardship—without great virtue, who could be like this! The Zhuan says: "When governance is stable and achievements are made, rites and music will then flourish." Within the seas, human conduct becomes increasingly profound, their virtue ever more refined, and what they find joy in becomes ever more different. When full but not reduced, it will overflow; when abundant but not held steady, it will topple. All music is created to regulate and moderate joy. A junzi regards humility and withdrawal as propriety, and sees reduction and restraint as joy; he finds happiness in being like this. Because regions differ and states vary, their sentiments and customs are not the same; therefore, they broadly collect folkways and harmonize musical tones to make comparisons, in order to remedy shortcomings, transform people's dispositions, and assist in spreading political instruction and moral education. The Son of Heaven personally appears at the Mingtang to observe, and all the people are cleansed of evil and filth, tempered and filled with virtue, so as to cultivate their nature. Hence it is said that when the tones of Ya and Song are orderly, the people become upright; when the loud and stirring sounds arise, the scholars become inspired; but when the melodies of Zheng and Wei stir, the hearts grow licentious. When their tones are harmonized and in accord, even birds and beasts are moved; how much more so for those who possess the Five Constants, who harbor feelings of like and dislike—this is the natural order!
|
| | 樂書: |
治道虧缺而鄭音興起，封君世辟，名顯鄰州，爭以相高。自仲尼不能與齊優遂容於魯，雖退正樂以誘世，作五章以剌時，猶莫之化。陵遲以至六國，流沔沈佚，遂往不返，卒於喪身滅宗，并國於秦。 |
| | When governance falters and lacks integrity, Zheng music arises; feudal lords of successive generations, their names renowned in neighboring states, compete to surpass one another. From Zhongni (Confucius), who could not tolerate Qi's court musicians and thus refused to be accommodated in Lu, even though he withdrew the proper music to guide society and composed five chapters to satirize his time, still no one was transformed. Declining gradually until the Six States, drifting and indulging in excess, proceeding without return, ultimately leading to loss of life and destruction of lineage, with all states falling into Qin.
|
| | 樂書: |
秦二世尤以為娛。丞相李斯進諫曰：「放棄詩書，極意聲色，祖伊所以懼也；輕積細過，恣心長夜，紂所以亡也。」趙高曰：「五帝、三王樂各殊名，示不相襲。上自朝廷，下至人民，得以接歡喜，合殷勤，非此和說不通，解澤不流，亦各一世之化，度時之樂，何必華山之騄耳而後行遠乎？」二世然之。 |
| | Qin Ershi especially regarded it as a source of entertainment. The Chancellor Li Si advised, "Abandoning the Shijing and Shangshu, indulging completely in music and beauty—this is why Zuyi was afraid; lightly accumulating minor faults, giving free rein to the mind through long nights—this is how Zhou Wang perished." Zhao Gao said: "The music of the Five Emperors and Three Kings each had different names, showing that they did not follow one another. From above in the court to below among the people, they could connect through joy and unite with earnestness. Without this harmonious persuasion, understanding would not be achieved, grace would not flow; these were each the transformation of one age, the music suited to its time—why must it necessarily be a swift horse like the Luli from Huashan in order to travel far?" Qin Ershi agreed with this.
|
| | 樂書: |
高祖過沛詩三侯之章，令小兒歌之。高祖崩，令沛得以四時歌儛宗廟。孝惠、孝文、孝景無所增更，於樂府習常肄舊而已。 |
| | Emperor Gaozu passed through Pei and composed the three chapters of "Sanhou," ordering children to sing them. łoż After Emperor Gaozu's death, the people of Pei were allowed to perform songs and dances in honor of his ancestors at the temple during all four seasons. Emperor Xiaohui, Emperor Xiaowen, and Emperor Xiaojing made no additions or changes; they merely practiced the usual and traditional music at the Yuefu.
|
| | 樂書: |
至今上即位，作十九章，令侍中李延年次序其聲，拜為協律都尉。通一經之士不能獨知其辭，皆集會五經家，相與共講習讀之，乃能通知其意，多爾雅之文。 |
| | When the current emperor ascended the throne, he composed nineteen chapters and ordered Attendant-in-Attendance Li Yannian to arrange their melodies. He was then appointed as Director of Harmonizing Tones (Xie Lü Duyi). Scholars who had mastered only one of the Classics could not understand its words alone; they all gathered together with experts from the Five Classics, discussed and studied it collectively, and thus were able to fully grasp its meaning. The text is rich in classical and refined expressions.
|
| | 樂書: |
漢家常以正月上辛祠太一甘泉，以昏時夜祠，到明而終。常有流星經於祠壇上。使僮男僮女七十人俱歌。春歌青陽，夏歌朱明，秋歌西暤，冬歌玄冥。世多有，故不論。 |
| | The Han dynasty regularly performed sacrifices to Taiyi at Ganquan on the first Xin day of the first lunar month, holding night ceremonies from dusk until dawn. There was often a shooting star passing over the altar of sacrifice. Seventy boys and girls were ordered to sing together. Songs for spring: "Qingyang"; songs for summer: "Zhuming"; songs for autumn: "Xihao"; songs for winter: "Xuanming." There were many such instances, so they are not discussed here.
|
| | 樂書: |
又嘗得神馬渥洼水中，復次以為太一之歌。歌曲曰：「太一貢兮天馬下，霑赤汗兮沫流赭。騁容與兮跇萬里，今安匹兮龍為友。」後伐大宛得千里馬，馬名蒲梢，次作以為歌。歌詩曰：「天馬來兮從西極，經萬里兮歸有德。承靈威兮降外國，涉流沙兮四夷服。」中尉汲黯進曰：「凡王者作樂，上以承祖宗，下以化兆民。今陛下得馬，詩以為歌，協於宗廟，先帝百姓豈能知其音邪？」上默然不說。丞相公孫弘曰：「黯誹謗聖制，當族。」 |
| | They had also once obtained a divine horse from the Wokou Waters and composed another song for Taiyi in sequence. The lyrics of the song said: "Taiyi offers tribute, as the heavenly horse descends; its sweat is red and moist, its foam flows like cinnabar." "Graceful in movement, it gallops ten thousand li; now who can match it, with the dragon as its companion?" Later, after conquering Dayuan and obtaining a horse capable of traveling a thousand li, named Pusao, they composed another song in sequence. The poem said: "The heavenly horse comes from the westernmost reaches; having traveled ten thousand li, it returns to one of virtue. Bearing divine might, it descends upon foreign lands; crossing the shifting sands, all four barbarian regions submit." The Zhongwei Ji An said: "Whenever a Son of Heaven creates music, above it is to honor ancestors and below it is to transform the people. Now that Your Majesty has obtained a horse, composing poetry for song and coordinating it with ancestral temple rites—could the ancestors of former emperors or the common people possibly understand its melody?" The emperor fell silent and was displeased. The Chancellor Gongsun Hong said: "An has slandered the sacred institution; he should be executed along with his clan."
|
| | 樂書: |
凡音之起，由人心生也。人心之動，物使之然也。感於物而動，故形於聲；聲相應，故生變；變成方，謂之音；比音而樂之，及干戚羽旄，謂之樂也。樂者，音之所由生也，其本在人心感於物也。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，其聲麤以厲；其敬心感者，其聲直以廉；其愛心感者，其聲和以柔。六者非性也，感於物而後動，是故先王慎所以感之。故禮以導其志，樂以和其聲，政以壹其行，刑以防其姦。禮樂刑政，其極一也，所以同民心而出治道也。 |
| | All music arises from human hearts. The movement of the heart is caused by external things. Stirred by external objects, the heart moves, thus giving rise to sound; Sounds correspond with one another, hence variations arise; Variations take form and are called music; When these sounds are arranged into harmony, and accompanied by ritual implements such as shields, axes, feathers, and banners, it is called "Yue," or music. Music originates from sound; its root lies in the human heart being stirred by external objects. Therefore, when sorrow stirs the heart, the resulting sound is sharp and repressed; when joy stirs the heart, its sound becomes relaxed and gentle; when happiness stirs the heart, the sound is expansive and diffused; when anger stirs the heart, its tone becomes rough and sharp; when reverence stirs the heart, the voice is upright and clear; and when love stirs the heart, its melody becomes harmonious and gentle. These six emotions are not inherent in human nature; they arise only after being stirred by external things. Therefore, the sage kings of old were cautious about what stirred people's hearts. Therefore, rites are used to guide their aspirations; music is employed to harmonize their voices; government ensures consistency in conduct; and punishments serve as a defense against wrongdoing. Rites, music, punishment, and governance all ultimately aim at the same goal: to unify the people's hearts and bring forth good governance.
|
| | 樂書: |
凡音者，生人心者也。情動於中，故形於聲，聲成文謂之音。是故治世之音安以樂，其正和；亂世之音怨以怒，其正乖；亡國之音哀以思，其民困。聲音之道，與正通矣。宮為君，商為臣，角為民，徵為事，羽為物。五者不亂，則無惉懘之音矣。宮亂則荒，其君驕；商亂則搥，其臣壞；角亂則憂，其民怨；徵亂則哀，其事勤；羽亂則危，其財匱。五者皆亂，迭相陵，謂之慢。如此則國之滅亡無日矣。鄭衛之音，亂世之音也，比於慢矣。桑閒濮上之音，亡國之音也，其政散，其民流，誣上行私而不可止。 |
| | All sound originates from the human heart. Emotion stirred within gives rise to sound; when sounds form patterns, they are called music. Therefore, the music of a well-governed age is peaceful and joyful—its tone upright and harmonious; the music of an age in disorder is resentful and angry—its tone deviant and discordant; the music of a fallen state is sorrowful and pensive—its people are oppressed. The principles of sound and melody are connected to uprightness. Gong represents the ruler, Shang the minister, Jue the people, Zhi affairs, and Yu objects. If these five elements are not in disorder, there will be no discordant or chaotic sounds. When Gong is disordered, it becomes wild—this indicates a proud ruler; when Shang is chaotic, it becomes hollow and weak—its ministers are corrupt; when Jue is disordered, sorrow arises—the people are resentful; when Zhi is chaotic, sadness results—affairs become burdensome; and when Yu is disordered, danger follows—the state's wealth is exhausted. When all five are in disorder and each dominates the other, it is called "man," or disrespect. In such a case, there will be no day left for the state to avoid its downfall. The music of Zheng and Wei is the music of an age in chaos; it is close to disrespect. The music from Sangjian and Poshang is the music of a fallen state; when governance collapses, the people drift away, deceiving superiors and acting for private gain without restraint.
|
| | 樂書: |
凡音者，生於人心者也；樂者，通於倫理者也。是故知聲而不知音者，禽獸是也；知音而不知樂者，眾庶是也。唯君子為能知樂。是故審聲以知音，審音以知樂，審樂以知政，而治道備矣。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。是故樂之隆，非極音也；食饗之禮，非極味也。清廟之瑟，朱弦而疏越，一倡而三嘆，有遺音者矣。大饗之禮，尚玄酒而俎腥魚，大羹不和，有遺味者矣。是故先王之制禮樂也，非以極口腹耳目之欲也，將以教民平好惡而反人道之正也。 |
| | All sound originates from human hearts; Music is connected to moral principles. Therefore, those who know sound but not music are like beasts; those who understand music yet do not grasp its deeper meaning are the common people. Only a junzi can truly know and appreciate music. Therefore, by examining sound one understands music; by understanding music one grasps the essence of harmony; by grasping this harmony one comprehends governance—and thus the principles of good rule are complete. Therefore, those who do not understand sound cannot be discussed about music; those who do not know music cannot be spoken to about the deeper meaning of harmony. To understand this harmony is nearly equivalent to understanding rites. To possess both rites and music fully is called having virtue. Virtue means attainment. Therefore, the height of music is not about reaching the extreme in sound; the grandeur of sacrificial rites is not about ultimate flavor. The se zither in the Qingmiao Temple, with its red strings and loosely spaced bridges, produces a melody where one voice is followed by three sighs—this leaves behind lingering music. The grand sacrificial rites value xuanjiu (symbolic wine) and place raw fish on the zǔ, serving strong broth without blending—this leaves behind a lingering flavor. Therefore, the sage kings established rites and music not to satisfy the desires of the mouth, belly, ears, or eyes, but in order to teach the people to regulate their likes and dislikes and return to the proper way of humanity.
|
| | 樂書: |
人生而靜，天之性也；感於物而動，性之頌也。物至知知，然後好惡形焉。好惡無節於內，知誘於外，不能反己，天理滅矣。夫物之感人無窮，而人之好惡無節，則是物至而人化物也。人化物也者，滅天理而窮人欲者也。於是有悖逆詐偽之心，有淫佚作亂之事。是故彊者脅弱，眾者暴寡，知者詐愚，勇者苦怯，疾病不養，老幼孤寡不得其所，此大亂之道也。是故先王制禮樂，人為之節：衰麻哭泣，所以節喪紀也；鐘鼓干戚，所以和安樂也；婚姻冠笄，所以別男女也；射鄉食饗，所以正交接也。禮節民心，樂和民聲，政以行之，刑以防之。禮樂刑政四達而不悖，則王道備矣。 |
| | Human beings are born with stillness—this is Heaven's nature; Stirred by external things, they move—this is the expression of human nature. When objects come and knowledge arises, then likes and dislikes take form. When one's likes and dislikes are without restraint internally, and external influences lead to temptation, if one cannot reflect inwardly, the principles of Heaven will be extinguished. External things can endlessly move people; if human likes and dislikes have no limits, then when external objects arrive, people become transformed by them. When people are transformed by external things, it means they extinguish the principles of Heaven and indulge human desires to their extremes. Thus arise thoughts of rebellion and deceit, as well as acts of licentiousness and disorder. Therefore, the strong intimidate the weak; the many oppress the few; the wise deceive the foolish; the brave torment the timid. The sick and afflicted are not cared for, and the elderly, young, widows, and orphans find no place—this is the path to great disorder. Therefore, sage kings of old established rites and music to regulate human conduct: wearing mourning clothes and weeping—this was to regulate funeral customs; bells, drums, shields, and axes—these were used to harmonize joy and peace; marriage and the capping/jewel ceremonies for women—these served to distinguish between men and women; archery, ancestral sacrifices, and sacrificial feasts—these were used to regulate social interactions. Rites restrain the people's hearts; music harmonizes their voices; government enforces these, and punishments prevent transgressions. When rites, music, punishments, and governance are fully implemented without contradiction, then the way of kingship is complete.
|
| | 樂書: |
樂者為同，禮者為異。同則相親，異則相敬。樂勝則流，禮勝則離。合情飾貌者，禮樂之事也。禮義立，則貴賤等矣；樂文同，則上下和矣；好惡著，則賢不肖別矣；刑禁暴，爵舉賢，則政均矣。仁以愛之，義以正之，如此則民治行矣。 |
| | Music brings people together; rites distinguish them. When united, they become affectionate; when differentiated, they show respect. If music prevails too much, people will become indulgent; if rites prevail too much, people will grow estranged. To harmonize inner feelings and refine outward appearances—this is the function of rites and music. When propriety and righteousness are established, distinctions between noble and humble become clear; when the cultural expressions of music align, harmony is achieved between superiors and inferiors; when likes and dislikes are clear, distinctions between the virtuous and the unworthy become evident; punishments restrain violence, ranks honor virtue—thus governance becomes balanced. With benevolence to love the people and righteousness to correct them, in this way the people will be well governed.
|
| | 樂書: |
樂由中出，禮自外作。樂由中出，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。揖讓而治天下者，禮樂之謂也。暴民不作，諸侯賓服，兵革不試，五刑不用，百姓無患，天子不怒，如此則樂達矣。合父子之親，明長幼之序，以敬四海之內。天子如此，則禮行矣。 |
| | Music arises from within; rites originate from without. Because music arises from the inner self, it brings tranquility; because rites originate externally, they bring outward form. The grandest music is always simple; the grandest rites are necessarily plain. When music reaches its perfection, resentment disappears; when rites reach their perfection, contention ceases. To govern the world through courtesy and yielding—this is what rites and music mean. When the people are not violent, feudal lords submit in peace, weapons and armor remain unused, five punishments are unnecessary, the common people suffer no hardship, and the Son of Heaven is never angry—thus music reaches its full harmony. Harmonizing the affection between father and son, clarifying the order of seniority among elder and younger, thus showing reverence throughout all under Heaven. When a Son of Heaven acts in this way, rites will be properly observed.
|
| | 樂書: |
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。禮者，殊事合敬者也；樂者，異文合愛者也。禮樂之情同，故明王以相沿也。故事與時并，名與功偕。故鐘鼓管磬羽籥干戚，樂之器也；詘信俯仰級兆舒疾，樂之文也。簠簋俎豆制度文章，禮之器也；升降上下周旋裼襲，禮之文也。故知禮樂之情者能作，識禮樂之文者能術。作者之謂聖，術者之謂明。明聖者，術作之謂也。 |
| | The grandest music harmonizes with the harmony of Heaven and Earth; the grandest rites align with their rhythms. Harmony, therefore, ensures that all things remain in balance; Rhythm, therefore, leads to sacrifices to Heaven and offerings to Earth. When things are clear, rites and music arise; when they are obscure, spirits and deities appear—thus throughout all under Heaven reverence is united with love. Rites are the means by which different matters unite in reverence; Music is the means by which diverse expressions unite in love. The essence of rites and music is the same; therefore, enlightened kings transmit them together. Thus, affairs proceed with the times, names accompany achievements. Therefore, bells, drums, flutes, stone chimes, feathers, yue, shields, and axes are instruments of music; bowing, stretching, looking up and down, steps, omens, slow or quick movements—these form the expressions of music. food vessels, sacrificial stands, ritual utensils, systems, and ceremonial patterns—these are the instruments of rites; ascending and descending, moving up and down, circling around, wearing or removing outer garments—these form the expressions of rites. Therefore, those who understand the essence of rites and music can create them; those who recognize their forms can master their techniques. To create is to be sage; to master technique is to be enlightened. Enlightened sages are those who combine mastery and creation.
|
| | 樂書: |
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。樂由天作，禮以地制。過制則亂，過作則暴。明於天地，然後能興禮樂也。論倫無患，樂之情也；欣喜驩愛，樂之（容）［官］也。中正無邪，禮之質也；莊敬恭順，禮之制也。若夫禮樂之施於金石，越於聲音，用於宗廟社稷，事于山川鬼神，則此所以與民同也。 |
| | Music is the harmony of Heaven and Earth; rites are the order of Heaven and Earth. Harmony, therefore, transforms all things; Order, therefore, distinguishes among all beings. Music originates from Heaven; rites are established by Earth. Excessive regulation leads to disorder; excessive creation leads to violence. Only when one understands Heaven and Earth can one properly establish rites and music. Clarifying moral relationships without hardship—this is the essence of music; Joy, delight, and affection—these are the expressions of music. Uprightness without deviation—this is the nature of rites; Dignified, respectful, and obedient—these are the forms of rites. As for how rites and music are applied to metal and stone, transmitted through sound and voice, used in ancestral temples and state altars, and performed before mountains, rivers, spirits, and deities—this is why they share a common bond with the people.
|
| | 樂書: |
王者功成作樂，治定制禮。其功大者其樂備，其治辨者其禮具。干戚之舞，非備樂也；亨孰而祀，非達禮也。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，其唯大聖乎？天高地下，萬物散殊，而禮制行也；流而不息，合同而化，而樂興也。春作夏長，仁也；秋斂冬藏，義也。仁近於樂，義近於禮。樂者敦和，率神而從天；禮者辨宜，居鬼而從地。故聖人作樂以應天，作禮以配地。禮樂明備，天地官矣。 |
| | When a king achieves success, he creates music; when order is established, he establishes rites. The greater the achievement, the more complete the music; the clearer the governance, the better prepared the rites. Dances with shields and axes are not yet complete music; Offering cooked food in sacrifice is not yet full understanding of rites. The Five Emperors lived in different times and did not follow the same music; the Three Kings ruled in different ages and did not inherit the same rites. When music reaches excess, sorrow follows; when rites become crude, they become biased. And who could achieve joy through profound music and complete rites without bias? Could it be only the greatest sage? Heaven is high, Earth is low; all things are dispersed and distinct—thus rites are established. Flowing without ceasing, uniting to transform—this is how music arises. Spring brings birth and summer growth—this is benevolence; Autumn gathers and winter stores—this is righteousness. Benevolence is close to music; righteousness is close to rites. Music brings deep harmony, guiding spirits in accordance with Heaven; Rites distinguish appropriateness, residing among spirits and following Earth. Therefore, sages created music to correspond with Heaven, and established rites to harmonize with Earth. When rites and music are clearly complete, the functions of Heaven and Earth are fulfilled.
|
| | 樂書: |
天尊地卑，君臣定矣。高卑已陳，貴賤位矣。動靜有常，小大殊矣。方以類聚，物以群分，則性命不同矣。在天成象，在地成形，如此則禮者天地之別也。地氣上隮，天氣下降，陰陽相摩，天地相蕩，鼓之以雷霆，奮之以風雨，動之以四時，煖之以日月，而百［物］化興焉，如此則樂者天地之和也。 |
| | Heaven is honored, Earth is humble—thus the relationship between ruler and minister is established. High and low are already arranged—thus distinctions of noble and humble are set. Movement and stillness follow fixed patterns—thus small and great become distinct. Things gather by kind, beings divide into groups—thus their natures and fates differ. In Heaven they form images; on Earth they take shape—thus rites represent the distinctions of Heaven and Earth. The Earth's qi rises, Heaven's qi descends; yin and yang rub against each other; Heaven and Earth resonate. Thunder and lightning stir them, wind and rain invigorate them, the four seasons move them, sun and moon warm them—thus all things transform and flourish. In this way, music is the harmony of Heaven and Earth.
|
| | 樂書: |
化不時則不生，男女無別則亂登，此天地之情也。及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，樂著太始而禮居成物。著不息者天也，著不動者地也。一動一靜者，天地之閒也。故聖人曰「禮云樂云」。 |
| | If transformation does not follow its proper time, life will not arise; if distinctions between men and women are absent, disorder will increase—this is the principle of Heaven and Earth. When rites and music reach up to Heaven and extend down to Earth, operate through yin and yang, and communicate with spirits and deities; when they explore the highest heights and furthest distances while measuring depth and thickness—music originates from the primordial beginning, and rites reside in completed things. That which is ceaseless is Heaven; that which remains unmoving is Earth. One movement, one stillness—this is the space between Heaven and Earth. Therefore, sages said, "Rites and music."
|
| | 樂書: |
昔者舜作五弦之琴，以歌南風；夔始作樂，以賞諸侯。故天子之為樂也，以賞諸侯之有德者也。德盛而教尊，五穀時孰，然後賞之以樂。故其治民勞者，其舞行級遠；其治民佚者，其舞行級短。故觀其舞而知其德，聞其謚而知其行。大章，章之也；咸池，備也；韶，繼也；夏，大也；殷周之樂盡也。 |
| | In the past, Shun made a five-stringed qin to sing of the southern wind; Kui first created music to reward feudal lords. Therefore, the Son of Heaven creates music in order to reward among the feudal lords those who possess virtue. When virtue is abundant and instruction honored, when five grains mature at their proper times—then music is used to reward them. Therefore, for those who govern the people with diligence, the dancers' steps are long and far-reaching; for those who rule the people in idleness, their dance steps are short. Thus, by observing the dance one knows virtue; by hearing the posthumous title, one understands conduct. Dazhang—this signifies clarity; Xianchi—this means completeness; Shao—this denotes succession; Xia—this signifies grandeur; The music of the Yin and Zhou dynasties was fully developed.
|
| | 樂書: |
天地之道，寒暑不時則疾，風雨不節則饑。教者，民之寒暑也，教不時則傷世。事者，民之風雨也，事不節則無功。然則先王之為樂也，以法治也，善則行象德矣。夫豢豕為酒，非以為禍也；而獄訟益煩，則酒之流生禍也。是故先王因為酒禮，一獻之禮，賓主百拜，終日飲酒而不得醉焉，此先王之所以備酒禍也。故酒食者，所以合歡也。 |
| | The way of Heaven and Earth: if cold and heat do not follow their seasons, disease arises; if wind and rain are without measure, famine follows. Education is the people's cold and heat; when teaching does not follow proper timing, it harms society. Affairs are the people's wind and rain; if affairs proceed without restraint, no achievement is made. Therefore, when former kings created music, they did so in accordance with law and order; if it was good, its performance would resemble virtue. Raising pigs for wine is not intended to bring disaster; yet if lawsuits become more frequent, then the flow of wine gives rise to calamity. Therefore, former kings established wine rituals; in the ritual of one offering, guests and hosts exchanged a hundred bows, yet after drinking all day, they could not become drunk. This was how former kings prepared against the calamity of alcohol. Therefore, wine and food are used to unite in joy.
|
| | 樂書: |
樂者，所以象德也；禮者，所以閉淫也。是故先王有大事，必有禮以哀之；有大福，必有禮以樂之：哀樂之分，皆以禮終。 |
| | Music is meant to resemble virtue; Ritual is meant to restrain excess. Therefore, when former kings had great affairs, they necessarily observed rituals to express mourning; when there was great fortune, they necessarily observed rituals for joy: the distinction between sorrow and joy all concluded with ritual.
|
| | 樂書: |
樂也者，施也；禮也者，報也。樂，樂其所自生；而禮，反其所自始。樂章德，禮報情反始也。所謂大路者，天子之輿也；龍旂九旒，天子之旌也；青黑緣者，天子之葆龜也；從之以牛羊之群，則所以贈諸侯也。 |
| | Music is about giving; ritual is about reciprocation. Joy—joy in what arises from oneself; and ritual, returns to its original beginning. Music expresses virtue; ritual reciprocates emotion and returns to the origin. What is called Dalu is the chariot of the Son of Heaven; the long qi with nine tassels is the banner of the Son of Heaven; those with blue-black borders are the headdresses of the Son of Heaven's tortoise; followed by herds of oxen and sheep, these were what was given to feudal lords.
|
| | 樂書: |
樂也者，情之不可變者也；禮也者，理之不可易者也。樂統同，禮別異，禮樂之說貫乎人情矣。窮本知變，樂之情也；著誠去偽，禮之經也。禮樂順天地之誠，達神明之德，降興上下之神，而凝是精粗之體，領父子君臣之節。 |
| | Music is the unchangeable aspect of emotion; Ritual is the immutable principle. Music unifies similarities, ritual distinguishes differences; thus, the principles of music and ritual permeate human relationships. Understanding origins and knowing change is the essence of music; Establishing sincerity and removing falsehood is the principle of ritual. Ritual and music follow the sincerity of Heaven and Earth, express the virtue of spirits and deities, summon the gods above and below, and unify both refined and coarse substances, leading to the proper conduct between fathers and sons, rulers and ministers.
|
| | 樂書: |
是故大人舉禮樂，則天地將為昭焉。天地欣合，陰陽相得，煦嫗覆育萬物，然後草木茂，區萌達，羽翮奮，角觡生，蟄蟲昭穌，羽者嫗伏，毛者孕鬻，胎生者不殰而卵生者不殈，則樂之道歸焉耳。 |
| | Therefore, when a great person establishes ritual and music, Heaven and Earth will become luminous. Heaven and Earth harmonize joyfully, yin and yang unite in accord; the nurturing warmth covers and fosters all things. Then grasses and trees flourish, roots sprout, birds spread their wings, horns grow, hibernating creatures emerge from dormancy, feathered beings nestle close, furred ones conceive and give birth, live-bearing animals do not miscarry, and egg-laying ones do not have broken eggs—this is the return of music's way.
|
| | 樂書: |
樂者，非謂黃鐘大呂弦歌干揚也，樂之末節也，故童者舞之；布筵席，陳樽俎，列籩豆，以升降為禮者，禮之末節也，故有司掌之。樂師辯乎聲詩，故北面而弦；宗祝辯乎宗廟之禮，故後尸；商祝辯乎喪禮，故後主人。是故德成而上，藝成而下；行成而先，事成而後。是故先王有上有下，有先有後，然後可以有制於天下也。 |
| | Music does not mean merely the playing of Huangzhong and Dalv, singing with strings or beating drums—it is but a minor aspect of music. Hence, children dance to it; arranging mats and seats, setting out wine vessels and sacrificial offerings, arranging 笾 and dòu, using rising and falling movements as ritual—these are but minor aspects of ritual; therefore, officials oversee them. Music masters who distinguish between tones and poetry face north while playing the stringed instruments; priests and attendants who understand ancestral temple rituals, therefore follow behind the shi (symbolic ancestor); funeral priests who distinguish mourning rites, therefore follow after the family head. Therefore, virtue ascends to the higher level, while skill descends to the lower; conduct takes precedence and comes first, affairs follow and come later. Therefore, former kings recognized the higher and lower, the prior and subsequent; only then could they establish order throughout the world.
|
| | 樂書: |
樂者，聖人之所樂也，而可以善民心。其感人深，其風移俗易，故先王著其教焉。 |
| | Music is what sages find joy in, and it can cultivate virtue among the people. It deeply moves people; its influence changes customs and transforms society—thus former kings emphasized its teaching.
|
| | 樂書: |
夫人有血氣心知之性，而無哀樂喜怒之常，應感起物而動，然後心術形焉。是故志微焦衰之音作，而民思憂；啴緩慢易繁文簡節之音作，而民康樂；粗厲猛起奮末廣賁之音作，而民剛毅；廉直經正莊誠之音作，而民肅敬；寬裕肉好順成和動之音作，而民慈愛；流辟邪散狄成滌濫之音作，而民淫亂。 |
| | Human beings possess a nature of blood, qi, mind, and knowledge, yet they do not have fixed patterns of sorrow, joy, happiness, or anger. These emotions arise in response to external stimuli; only then does the state of one's heart become evident. Therefore, when subtle and sorrowful tones are played, the people feel anxious and worried; when smooth, leisurely, and gently flowing music with elaborate melodies but simple rhythms is performed, the people enjoy peace and happiness; when harsh, abrupt, vigorous, and expansive tones are played, the people become resolute and determined; when upright, just, solemn, and sincere tones are performed, the people become respectful and reverent; when broad, generous, harmonious, and gentle tones are played, the people show kindness and love; when licentious, deviant, chaotic, and corrupting tones are performed, the people fall into lustful disorder.
|
| | 樂書: |
是故先王本之情性，稽之度數，制之禮義，合生氣之和，道五常之行，使之陽而不散，陰而不密，剛氣不怒，柔氣不懾，四暢交於中而發作於外，皆安其位而不相奪也。然後立之學等，廣其節奏，省其文采，以繩德厚也。類小大之稱，比終始之序，以象事行，使親疏貴賤長幼男女之理皆形見於樂：故曰「樂觀其深矣」。 |
| | Therefore, former kings based their understanding on human nature and emotions, examined them in terms of principles and measurements, established ritual and righteousness to regulate them, harmonized the vital energies, guided the Five Constant Virtues, ensuring that yang was active but not dispersed, yin was restrained but not overly tight, strong qi did not become angry, and gentle qi did not shrink. Thus, these four aspects flowed freely within and manifested outwardly, each occupying its proper place without encroaching upon one another. Only then did they establish schools and grades of learning, expand the rhythms, simplify the ornate elements, in order to cultivate moral depth. They categorized the relative sizes, compared the order of beginning and end, to resemble affairs and conduct, so that relationships between close and distant relatives, noble and humble, elders and juniors, men and women all became evident in music: thus it is said, "Music reveals profound truths."
|
| | 樂書: |
土敝則草木不長，水煩則魚鱉不大，氣衰則生物不育，世亂則禮廢而樂淫。是故其聲哀而不莊，樂而不安，慢易以犯節，流湎以忘本。廣則容姦。狹則思欲，感滌蕩之氣而滅平和之德，是以君子賤之也。 |
| | When the soil becomes exhausted, grasses and trees do not grow; when water is disturbed, fish and turtles do not thrive; when vital energies decline, living things fail to reproduce; when society falls into disorder, ritual collapses and music becomes licentious. Therefore, the tones are sorrowful yet disrespectful, joyful yet uneasy, careless and disorderly in rhythm, indulgent to the point of forgetting one's roots. When music is overly expansive, it accommodates wickedness. If too narrow and restrictive, desires arise; the corrupting influences stir while the virtue of harmony is extinguished. Therefore, gentlemen despise such music.
|
| | 樂書: |
凡姦聲感人而逆氣應之，逆氣成象而淫樂興焉。正聲感人而順氣應之，順氣成象而和樂興焉。倡和有應，回邪曲直各歸其分，而萬物之理以類相動也。 |
| | Whenever licentious tones affect people, they provoke discordant energies; when these energies take form, licentious music arises. When proper tones affect people, harmonious energies respond; when such energies take shape, harmonious music arises. When a leader's tone is answered in harmony, the crooked and straight return to their proper places; thus, the principles governing all things act upon each other according to their categories.
|
| | 樂書: |
是故君子反情以和其志，比類以成其行。姦聲亂色不留聰明，淫樂廢禮不接於心術，惰慢邪辟之氣不設於身體，使耳目鼻口心知百體皆由順正，以行其義。然後發以聲音，文以琴瑟，動以干戚，飾以羽旄，從以簫管，奮至德之光，動四氣之和，以著萬物之理。是故清明象天，廣大象地，終始象四時，周旋象風雨；五色成文而不亂，八風從律而不姦，百度得數而有常；小大相成，終始相生，倡和清濁，代相為經。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。是故君子反情以和其志，廣樂以成其教，樂行而民鄉方，可以觀德矣。 |
| | Therefore, gentlemen regulate emotions to harmonize their wills, and by comparing similarities, they cultivate proper conduct. Lascivious tones and corrupt colors do not cloud the mind's clarity; licentious music, which neglects ritual, does not take root in one's inner disposition. Slothful and deviant energies do not settle within the body; thus, ears, eyes, nose, mouth, mind, knowledge, and all limbs follow proper order, enabling righteous conduct to be carried out. Only then, through sound and voice, refined by qin and se zithers, animated by drums and axes, adorned with feathers and banners, accompanied by xiao and guan flutes, can the radiance of virtuous conduct be stirred, the harmony of the four seasons be activated, and thus the principles governing all things be revealed. Therefore, clarity and brightness resemble Heaven; vastness resembles Earth; beginning and end resemble the four seasons; circular movement resembles wind and rain; the five colors form patterns without disorder, the eight winds follow pitch standards without corruption, all measurements conform to numerical principles and remain constant; the small and large complement each other, the beginning and end give rise to one another, clear and murky tones alternate in harmony, taking turns as principles. Therefore, when music is practiced, social order becomes clear; ears and eyes become sharp, blood and qi remain harmonious; customs change for the better, and peace prevails throughout the world. Hence it is said: "Music is joy." Gentlemen find joy in the Way; small men find joy in their desires. When desire is controlled by the Way, one experiences joy without disorder; when the Way is forgotten for desire, one becomes confused and finds no true joy. Therefore, gentlemen regulate their emotions to harmonize their will, expand music to complete moral instruction; when music is practiced, the people turn toward virtue—this reveals virtue indeed.
|
| | 樂書: |
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：三者本乎心，然後樂氣從之。是故情深而文明，氣盛而化神，和順積中而英華發外，唯樂不可以為偽。 |
| | Virtue is the beginning of human nature; music is the flourishing expression of virtue; metal, stone, silk, and bamboo are instruments of music. Poetry expresses one's will; song echoes its tone; dance moves the body's form: all three originate from the heart, and only then do musical energies follow. Therefore, deep emotion gives rise to refined culture; abundant energy transforms into divine influence. Harmony and gentleness accumulated within manifest as brilliance outwardly—only music cannot be feigned.
|
| | 樂書: |
樂者，心之動也；聲者，樂之象也；文采節奏，聲之飾也。君子動其本，樂其象，然後治其飾。是故先鼓以警戒，三步以見方，再始以著往，復亂以飭歸，奮疾而不拔，（也）極幽而不隱。獨樂其志，不厭其道；備舉其道，不私其欲。是以情見而義立，樂終而德尊；君子以好善，小人以息過：故曰「生民之道，樂為大焉」。 |
| | Music is the movement of the heart; sound is the manifestation of music; ornamentation and rhythm are embellishments of sound. Gentlemen move from the root, take delight in its manifestation, and then regulate its embellishment. Therefore, the drum is first struck to serve as a warning; three steps are taken to show direction; two beginnings mark departure clearly; returning in disorder disciplines one's return. Vigorous yet not reckless, reaching into the profound without concealment. One finds joy in his aspirations and does not tire of the Way; He fully upholds the Way, and does not favor personal desires. Thus, emotion is revealed and righteousness established; music concludes with virtue honored; gentlemen delight in goodness, while small men cease from wrongdoing: hence it is said, "Among the ways of nurturing the people, music holds the greatest place."
|
| | 樂書: |
君子曰：禮樂不可以斯須去身。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，以治心者也；致禮，以治躬者也。治躬則莊敬，莊敬則嚴威。心中斯須不和不樂，而鄙詐之心入之矣；外貌斯須不莊不敬，而慢易之心入之矣。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，望其容貌而民不生易慢焉。德煇動乎內而民莫不承聽，理發乎外而民莫不承順，故曰「知禮樂之道，舉而錯之天下無難矣」。 |
| | Gentlemen say: Ritual and music cannot for a moment be separated from one's person. Devoting oneself to music to cultivate the mind, then easygoing, upright, filial, and trustworthy dispositions arise naturally. When such a disposition arises, one finds joy; with joy comes peace; with peace comes endurance; with endurance comes harmony with Heaven; and with harmony with Heaven, the divine is attained. Heaven acts without words yet commands belief; the divine exerts no anger yet inspires awe. To devote oneself to music is to cultivate one's mind; to devote oneself to ritual is to regulate one's conduct. Regulating one's conduct brings dignity and reverence; dignity and reverence bring solemn authority. If for a moment the mind is not harmonious or joyful, then petty and deceitful thoughts will enter it. If for a moment one's appearance is not dignified or reverent, then careless and frivolous thoughts will enter it. Therefore, music originates from within; ritual is expressed outwardly. Music achieves the utmost harmony; ritual achieves the utmost order. When inner harmony and outer order are achieved, then the people will look upon one's countenance without contention, and seeing one's bearing, they will not feel casual or disrespectful. Virtue shining from within moves the people, who all listen attentively; propriety expressed outwardly leads the people to follow without resistance. Hence it is said: "He who understands the Way of ritual and music can act in accordance with it, and there will be no difficulty in governing the world."
|
| | 樂書: |
樂也者，動於內者也；禮也者，動於外者也。故禮主其謙，樂主其盈。禮謙而進，以進為文；樂盈而反，以反為文。禮謙而不進，則銷；樂盈而不反，則放。故禮有報而樂有反。禮得其報則樂，樂得其反則安。禮之報，樂之反，其義一也。 |
| | Music originates from within; ritual is expressed outwardly. 故樂有《詩》、《書》、《舞》。 Therefore, ritual emphasizes humility, while music emphasizes fullness. Ritual is humble yet advancing, and advancement becomes decorum; music is full yet returns, and return becomes decorum. If ritual is humble but does not advance, it will wither; if music is full yet does not return, it becomes unrestrained. Therefore, ritual involves reciprocity and music involves return. When ritual receives its due response, there is joy; when music achieves its proper return, there is peace. The reciprocity of ritual and the return of music are but one in meaning.
|
| | 樂書: |
夫樂者樂也，人情之所不能免也。樂必發諸聲音，形於動靜，人道也。聲音動靜，性術之變，盡於此矣。故人不能無樂，樂不能無形。形而不為道，不能無亂。先王惡其亂，故制雅頌之聲以道之，使其聲足以樂而不流，使其文足以綸而不息，使其曲直繁省廉肉節奏，足以感動人之善心而已矣，不使放心邪氣得接焉，是先王立樂之方也。是故樂在宗廟之中，君臣上下同聽之，則莫不和敬；在族長鄉里之中，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，審一以定和，比物以飾節，節奏合以成文，所以合和父子君臣，附親萬民也，是先王立樂之方也。故聽其雅頌之聲，志意得廣焉；執其干戚，習其俯仰詘信，容貌得莊焉；行其綴兆，要其節奏，行列得正焉，進退得齊焉。故樂者天地之齊，中和之紀，人情之所不能免也。 |
| | Music is joy, an emotion from which human nature cannot escape. Joy must be expressed through sound and voice, manifested in movement and stillness; this is the way of humanity. Sound, voice, movement, and stillness—these are transformations of human nature and method, and they are fully expressed in these aspects. Therefore, people cannot be without joy, and joy cannot exist without form. If the form of music does not conform to the Way, disorder is inevitable. The sage kings abhorred disorder, so they established the tones of ya and song to guide it. They ensured that its sounds were sufficient for joy without excess, that its forms were refined enough to be elegant yet not tedious, and that its modulations—whether straight or winding, elaborate or simple, sharp or mellow, rhythmic or measured—were adequate merely to move the good heart of people. Thus they prevented wayward desires and evil influences from taking hold; this was the method by which sage kings established music. Therefore, when music is performed in ancestral temples and rulers and ministers of all ranks listen together, none but feel harmony and reverence; when it is played among clan elders and in villages, with the young and old listening together, then none but feel harmonious and obedient; when it is performed within the household, by father and son or brothers together, then none but feel harmony and affection. Therefore, music examines the fundamental principle to establish harmony, compares things to embellish rhythm, and combines rhythms into a patterned form. Thus it serves to unite father and son, ruler and minister, and to bind closely all the people; this is how sage kings established the Way of music. Therefore, when one listens to the tones of ya and song, one's aspirations are broadened; when one holds the gān and qī, practices bowing, looking up and down, bending and stretching, then one's deportment becomes dignified; when one follows the formations and movements, observes the rhythms and cadences, then ranks are properly aligned and advances and retreats are orderly. Therefore, music is the standard of Heaven and Earth, the principle of harmony, an expression from which human emotion cannot escape.
|
| | 樂書: |
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齊矣。喜則天下和之，怒則暴亂者畏之。先王之道禮樂可謂盛矣。 |
| | Music is how sage kings adorned joy; military campaigns and weapons of war are how sage kings expressed anger. 故其喜，人莫不欲得之；其怒，人莫不畏之。 Therefore, the joys and angers of sage kings all conformed to proper standards. When they were joyful, the whole world harmonized with them; when they were angry, those who committed violence and disorder feared them. The Way of ritual and music practiced by sage kings can truly be called flourishing.
|
| | 樂書: |
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？」 |
| | Wei Wenhòu asked Zi Xia, "When I wear my ceremonial cap and robes to listen to ancient music, I fear that I will fall asleep; but when I listen to the music of Zheng and Wei, I do not know fatigue. I dare ask: Why is ancient music like that?" "Why is new music like this?"
|
| | 樂書: |
子夏答曰：「今夫古樂，進旅而退旅，和正以廣，弦匏笙簧合守拊鼓，始奏以文，止亂以武，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，姦聲以淫，溺而不止，及優侏儒，獶雜子女，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。夫樂之與音，相近而不同。」 |
| | Zi Xia replied, "Now, as for ancient music: when the performers advance together and retreat together, harmony is maintained in a broad manner. Zithers, gourds, sheng mouth organs, and huang flutes are played in coordination with clappers and drums. The performance begins with civil tones and concludes with martial rhythms; order and disorder are regulated by the xiang dance staffs, while swift movements follow the ya style. Gentlemen speak in this way and thus expound on antiquity; they cultivate their own conduct, manage their families, and bring balance to the world: such is the origin of ancient music. Now, as for new music: when performers bow forward and backward in a hasty manner, the sounds are licentious and corrupting; they indulge without restraint. It includes acrobats, midgets, and mixed performances of men and women, to the point where one no longer recognizes father from son. Such music cannot be discussed in terms of moral instruction or used to expound on antiquity: this is the origin of new music. Now, what your lordship has asked about is music (yue), but what you truly enjoy is sound and melody (yin). Music (yue) and sound/melody (yin) are similar yet distinct."
|
| | 樂書: |
文侯曰：「敢問如何？」 |
| | Wenhou said, "I dare to ask: how so?"
|
| | 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？」 |
| | Zi Xia replied, "In ancient times, Heaven and Earth were in harmony and the four seasons followed their proper order; the people had virtue and the five grains flourished; diseases did not arise and there were no omens of calamity. This is called great appropriateness (da dang). Only then did sage men establish the relationships of father and son, ruler and subject as the framework for society. Once these frameworks were properly ordered, the world was at great peace; when the world was thus at peace, they regulated the six pitch pipes, harmonized the five tones, played zithers while singing poetry and odes—this is called moral music (de yin), and such moral music is what we call true music (yue). The Shi says: "Let there be no cessation of moral music; virtue shall become clear, and when it is clear, it shall be exemplary. When it is exemplary, one becomes a leader and a ruler." "Ruling this great state, he brings order and harmony to all." "He follows Wenwang; his virtue is without regret." "Having received Heaven's blessings, he extends them to future generations." This is what it means. "Is the music your lordship truly enjoys not this indulgent and corrupting sound?"
|
| | 樂書: |
文侯曰：「敢問溺音者何從出也？」 |
| | Wenhou said, "I dare to ask: from where does such indulgent music originate?"
|
| | 樂書: |
子夏答曰：「鄭音好濫淫志，宋音燕女溺志，衛音趣數煩志，齊音驁辟驕志，四者皆淫於色而害於德，是以祭祀不用也。《》曰：『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。《》曰：『誘民孔易』，此之謂也。然後聖人作為鞉鼓椌楬壎篪，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，所以獻醻酳酢也，所以官序貴賤各得其宜也，此所以示後世有尊卑長幼序也。鐘聲鏗，鏗以立號，號以立橫，橫以立武。君子聽鐘聲則思武臣。石聲硁，硁以立別，別以致死。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，非聽其鏗鎗而已也，彼亦有所合之也。」 |
| | Zi Xia replied, "The music of Zheng is excessive and corrupts the will; the music of Song is soft and seductive, indulging the will; the music of Wei is fast-paced and agitates the mind; the music of Qi is unrestrained and arrogant. All four are excessive in sensuality and harmful to virtue, which is why they are not used in sacrifices. The Shi says: 'Respectful and harmonious sounds resound; thus the ancestors listen.' "Susu" means reverence; "Yongyong," harmony. With reverence and harmony, what task cannot be accomplished? For a ruler, it is merely a matter of being cautious about his likes and dislikes. If the ruler likes something, ministers will follow suit; if those above act in a certain way, the people below will emulate them. The Shi says: "It is very easy to lead the people," this is what it means. Then, sage men created the tao drum, jian wooden clapper, xun ocarina, and chi flute. These six instruments are the sounds of moral music. Then they added bells, stone chimes, yu reed pipes, and se zithers to harmonize with them, and used the gān halberd, qi axe, mao banner, and di standard for dancing. This is why such music was used in ancestral temple sacrifices, for presenting wine and toasting at banquets, and for establishing the proper order of officials, distinguishing between noble and humble so that each receives his due. This is how later generations were shown the sequence of respect, hierarchy, seniority, and youth. The sound of bells is keng; with keng, commands are established; from commands, formations arise; from formations, martial order is achieved. When a gentleman hears the sound of bells, he thinks of his valiant ministers. The sound of stone chimes is keng; with this keng, distinctions are made; from distinctions arises the resolve to die for one's duty. When a gentleman hears the sound of stone chimes, he thinks of ministers who died defending the borders. The sound of silk strings is sorrowful; from sorrowfulness arises integrity; from integrity, firm resolve. When a gentleman hears the sounds of qin and se zithers, he thinks of ministers devoted to righteousness and principle. The sound of bamboo instruments is abundant; from abundance arises coordination; from coordination, the gathering of people. When a gentleman hears the sounds of yu reed pipes and xiao flutes, he thinks of ministers responsible for accumulating resources and gathering the people. The sound of drums is jubilant; from jubilation arises action; from action, the advancement of the masses. When a gentleman hears the sounds of drums and pi war-drums, he thinks of generals and commanders. A gentleman's listening to music is not merely about hearing the clangs and crashes; there are also meanings that resonate within.
|
| | 樂書: |
賓牟賈侍坐於孔子，孔子與之言，及樂，曰：「夫武之備戒之已久，何也？」 |
| | Bin Moujia was sitting in attendance with Confucius, and when Confucius spoke to him about music, he said: "The preparations for Wu have been long-standing; why is that?"
|
| | 樂書: |
答曰：「病不得其眾也。」 |
| | He replied, "Because the people do not support it."
|
| | 樂書: |
「永嘆之，淫液之，何也？」 |
| | "Why is there prolonged sighing and excessive weeping?"
|
| | 樂書: |
答曰：「恐不逮事也。」 |
| | He replied, "Because he fears failing to accomplish his task."
|
| | 樂書: |
「發揚蹈厲之已蚤，何也？」 |
| | "Why is the vigorous and spirited performance so early?"
|
| | 樂書: |
答曰：「及時事也。」 |
| | He replied, "Because it is timely for action."
|
| | 樂書: |
「武坐致右憲左，何也？」 |
| | "Why does Wu sit with the right hand in a formal position and the left hand relaxed?"
|
| | 樂書: |
答曰：「非武坐也。」 |
| | He replied, "That is not how Wu sits."
|
| | 樂書: |
「聲淫及商，何也？」 |
| | "Why does the sound extend to the shang tone?"
|
| | 樂書: |
答曰：「非武音也。」 |
| | He replied, "That is not the music of Wu."
|
| | 樂書: |
子曰：「若非武音，則何音也？」 |
| | Confucius said, "If it is not the music of Wu, then what kind of music is it?"
|
| | 樂書: |
答曰：「有司失其傳也。如非有司失其傳，則武王之志荒矣。」 |
| | He replied, "It is due to officials losing their proper transmission. If it were not for the officials' loss of proper transmission, then King Wu's aspirations would have been in vain."
|
| | 樂書: |
子曰：「唯丘之聞諸萇弘，亦若吾子之言是也。」 |
| | Confucius said, "Only what I heard from Chang Hong is also like your words."
|
| | 樂書: |
賓牟賈起，免席而請曰：「夫武之備戒之已久，則既聞命矣。敢問遲之遲而又久，何也？」 |
| | Bin Moujia rose, removed his mat, and respectfully asked, "The preparations for Wu have been long in the making; I have already heard your instructions. I dare to ask why it is delayed so long?"
|
| | 樂書: |
子曰：「居，吾語汝。夫樂者，象成者也。總干而山立，武王之事也；發揚蹈厲，太公之志也；武亂皆坐，周召之治也。且夫武，始而北出，再成而滅商，三成而南，四成而南國是疆，五成而分陜，周公左，召公右，六成復綴，以崇天子，夾振之而四伐，盛（振）威於中國也。分夾而進，事蚤濟也。久立於綴，以待諸侯之至也。且夫女獨未聞牧野之語乎？武王克殷反商，未及下車，而封黃帝之後於薊，封帝堯之後於祝，封帝舜之後於陳；下車而封夏后氏之後於杞，封殷之後於宋，封王子比干之墓，釋箕子之囚，使之行商容而復其位。庶民弛政，庶士倍祿。濟河而西，馬散華山之陽而弗復乘；牛散桃林之野而不復服；車甲弢而藏之府庫而弗復用；倒載干戈，苞之以虎皮；將率之士，使為諸侯，名之曰『建櫜』：然後天下知武王之不復用兵也。散軍而郊射，左射貍首，右射騶虞，而貫革之射息也；裨冕搢笏，而虎賁之士稅劍也；祀乎明堂，而民知孝；朝覲，然後諸侯知所以臣；耕藉，然後諸侯知所以敬：五者天下之大教也。食三老五更於太學，天子袒而割牲，執醬而饋，執爵而酳，冕而總干，所以教諸侯之悌也。若此，則周道四達，禮樂交通，則夫武之遲久，不亦宜乎？」 |
| | Confucius said, "Sit down; I will tell you. Music is the representation of completion. Holding shields and standing as mountains, this was King Wu's endeavor; Vigorous and spirited performance reflects Tai Gong's aspirations; When Wu's chaos subsided, all sat in order—this was the governance of Zhou and Zhao. Moreover, regarding Wu: in the first section it moves northward; in the second section, Shang is destroyed; in the third section, it turns south; in the fourth section, the southern regions are established as territories; in the fifth section, the land is divided at Shaan, with Duke of Zhou on the left and Zhao Gong on the right; in the sixth section, the music resumes to honor the Son of Heaven. The movements vibrate outward four times, displaying great (vibrant) authority within the central lands. Divided and advancing together, this signifies that affairs are completed early. Remaining in place for a long time after the music resumes is to await the arrival of feudal lords. Have you not heard the words spoken at Muye? After King Wu defeated Yin and returned to Shang, before he had even dismounted his chariot, he enfeoffed the descendants of Huangdi at Ji, those of Emperor Yao at Zhu, and those of Emperor Shun at Chen; After dismounting, he enfeoffed descendants of the Xia Houshi at Qi, those of Yin at Song, honored the tomb of Prince Bi Gan, released Ji Zi from imprisonment, and allowed him to follow Shang Rong in restoring his position. Common people were relieved of burdensome policies, and common officials received double their salaries. After crossing the Yellow River to the west, he dispersed his horses on the southern side of Mount Hua and never rode them again; he released his oxen into the plains of Taolin and never used them for labor again; he stored his chariots, armor, and weapons in government treasuries and never used them again; he reversed the weapons on his chariot, wrapping them in tiger skins; he appointed military officers as feudal lords and named this practice "Jian Gao"—only then did the world know that King Wu would never again use force. He dispersed his troops and held archery ceremonies in the suburbs, shooting to the left at Lishou and to the right at Zoushi, thus ending the practice of penetrating leather targets; He wore ceremonial robes and held a tablet in his belt, while the elite warriors returned their swords to the sheathes; Offering sacrifices at the Mingtang temple made the people aware of filial piety; After court audiences, feudal lords understood how to be ministers; The ritual plowing made them understand reverence: these five practices were the great teachings of the world. Feasting the Three Elders and Five Elders at the Taixue, the Son of Heaven personally slaughtered sacrificial animals with his upper garment open, carried sauce to offer food, held a cup for the libation, and wore ceremonial headdress while holding shields—this was how he taught feudal lords fraternal respect. If this were the case, then the Zhou way would reach in all directions, and rites and music would circulate freely. Therefore, that Wu's performance was delayed for so long, is it not appropriate?"
|
| | 樂書: |
子貢見師乙而問焉，曰：「賜聞聲歌各有宜也，如賜者宜何歌也？」 |
| | Zi Gong met with Shiyi and asked him, "I have heard that singing and music each has its appropriate form. For someone like me, what kind of song should I sing?"
|
| | 樂書: |
師乙曰：「乙，賤工也，何足以問所宜。請誦其所聞，而吾子自執焉。寬而靜，柔而正者宜歌頌；廣大而靜，疏達而信者宜歌大雅；恭儉而好禮者宜歌小雅；正直清廉而謙者宜歌風；肆直而慈愛者宜歌商；溫良而能斷者宜歌齊。夫歌者，直己而陳德；動己而天地應焉，四時和焉，星辰理焉，萬物育焉。故商者，五帝之遺聲也，商人志之，故謂之商；齊者，三代之遺聲也，齊人志之，故謂之齊。明乎商之詩者，臨事而屢斷；明乎齊之詩者，見利而讓也。臨事而屢斷，勇也；見利而讓，義也。有勇有義，非歌孰能保此？故歌者，上如抗，下如隊，曲如折，止如槁木，居中矩，句中鉤，累累乎殷如貫珠。故歌之為言也，長言之也。說之，故言之；言之不足，故長言之；長言之不足，故嗟嘆之；嗟嘆之不足，故不知手之舞之足之蹈之。」子貢問樂。 |
| | Shiyi said, "I am a humble artisan; how could I possibly know the appropriate songs to recommend. Please allow me to recite what I have heard, and you may choose for yourself." Those who are broad-minded and tranquil, gentle yet upright should sing the Odes; Those who are expansive and calm, open-minded and trustworthy should sing the Da Ya; Those who are respectful, frugal, and fond of rites should sing the Xiao Ya; Those who are upright, clean, and humble should sing the Feng; Those who are forthright and compassionate should sing Shang; Those who are warm-hearted, kind, yet decisive should sing Qi. Singing is a way to express one's integrity and display virtue; When one moves with sincerity, heaven and earth respond, the four seasons harmonize, stars align in order, and all things flourish. Therefore, Shang music is the lingering sound of the Five Emperors; the people of Shang cherished it, hence it was called "Shang"; Qi music is the lingering sound from the Three Dynasties; the people of Qi cherished it, hence it was named "Qi." Those who understand the poetry of Shang can make repeated decisions when facing affairs; Those who understand the poetry of Qi will yield in the face of profit. Making repeated decisions when facing affairs is courage; Yielding in the face of profit is righteousness. With courage and righteousness, who else but through song could preserve these virtues? Therefore, in singing, the voice rises as if ascending, falls as if descending, turns like a sharp angle, stops as still as withered wood, stays centered within the square, and each phrase follows the curve of a hook—layer upon layer, it flows smoothly like pearls strung together. Therefore, "song" means to prolong one's words. Because one is pleased by it, he speaks of it; If speaking is insufficient, therefore one prolongs the words; If prolonging the words is still insufficient, then one sighs and laments; If sighing and lamenting are still insufficient, therefore one cannot help but raise hands to dance and stomp feet in rhythm." Zi Gong asked about music.
|
| | 樂書: |
凡音由於人心，天之與人有以相通，如景之象形，響之應聲。故為善者天報之以福，為惡者天與之以殃，其自然者也。 |
| | All sounds originate from the human heart; heaven and humanity are connected in this way, just as a shadow mirrors an object's form, or an echo responds to sound. Therefore, those who do good are blessed by heaven with fortune, while those who commit evil are visited by calamity from heaven; this is the natural order.
|
| | 樂書: |
故舜彈五弦之琴，歌南風之詩而天下治；紂為朝歌北鄙之音，身死國亡。舜之道何弘也？紂之道何隘也？夫南風之詩者生長之音也，舜樂好之，樂與天地同意，得萬國之驩心，故天下治也。夫朝歌者不時也，北者敗也，鄙者陋也，紂樂好之，與萬國殊心，諸侯不附，百姓不親，天下畔之，故身死國亡。 |
| | Thus, when Shun played the five-stringed qin and sang the poem of Nanfeng, the world was governed in harmony; Zhao composed the music of Chaoge Beibi, and perished with his life and state. How great was Shun's way! How narrow was Zhao's path! The poem of Nanfeng is a sound of growth and vitality. Shun's music cherished it; his joy aligned with the harmony of heaven and earth, winning the heartfelt approval of all nations, hence the world was at peace. The music of Chaoge was inappropriate; "north" signifies defeat, and "bi" means narrow-mindedness. Zhao loved such music, which diverged from the hearts of all nations. Feudal lords did not submit to him, common people did not support him, and the world rebelled against him—thus he lost his life and state.
|
| | 樂書: |
而衛靈公之時，將之晉，至於濮水之上舍。夜半時聞鼓琴聲，問左右，皆對曰「不聞」。乃召師涓曰：「吾聞鼓琴音，問左右，皆不聞。其狀似鬼神，為我聽而寫之。」師涓曰：「諾。」因端坐援琴，聽而寫之。明日，曰：「臣得之矣，然未習也，請宿習之。」靈公曰：「可。」因復宿。明日，報曰：「習矣。」即去之晉，見晉平公。平公置酒於施惠之臺。酒酣，靈公曰：「今者來，聞新聲，請奏之。」平公曰：「可。」即令師涓坐師曠旁，援琴鼓之。未終，師曠撫而止之曰：「此亡國之聲也，不可遂。」平公曰：「何道出？」師曠曰：「師延所作也。與紂為靡靡之樂，武王伐紂，師延東走，自投濮水之中，故聞此聲必於濮水之上，先聞此聲者國削。」平公曰：「寡人所好者音也，願遂聞之。」師涓鼓而終之。 |
| | During Duke Ling of Wei's time, when he was traveling to Jin, they stopped for the night by the Pusu River. At midnight, he heard the sound of a zither being played and asked his attendants; they all replied that they had not heard anything. He then summoned Shijuan and said, "I have heard the sound of zither music; I asked my attendants, but none of them heard it. Its form seems supernatural—listen to it and transcribe it for me." Shijuan said, "Yes, my lord." He then sat upright, took up the zither, listened carefully, and transcribed it. The next day he said, "I have obtained it now, but I am not yet familiar with it; please allow me to stay and practice it." Duke Ling said, "Go ahead." So he stayed overnight again. The next day, he reported, "I have mastered it." They then departed for Jin and presented themselves to Duke Ping of Jin. Duke Ping held a banquet on the Shuihui Terrace. When the wine was flowing freely, Duke Ling said, "On our way here, we heard a new melody; please allow me to perform it." Duke Ping said, "Go ahead." He then ordered Shijuan to sit beside Shikuang and play the zither. Before it was finished, Shikuang stopped him by touching his shoulder and said, "This is the sound of a fallen kingdom; you must not continue." Duke Ping asked, "From where does this melody originate?" Shikuang said, "It was composed by Shiyuan. He composed it together with Zhao for the decadent music. When King Wu attacked Zhao, Shiyuan fled eastward and threw himself into the Pusu River; therefore, this melody can only be heard by the banks of Pusu. Whoever first hears this sound will see their state weakened." Duke Ping said, "What I love is music; I wish to hear it in full." Shijuan played the entire piece.
|
| | 樂書: |
平公曰：「音無此最悲乎？」師曠曰：「有。」平公曰：「可得聞乎？」師曠曰：「君德義薄，不可以聽之。」平公曰：「寡人所好者音也，願聞之。」師曠不得已，援琴而鼓之。一奏之，有玄鶴二八集乎廊門；再奏之，延頸而鳴，舒翼而舞。 |
| | Duke Ping said, "Is there no sound more sorrowful than this?" old Shikuang replied, "Yes." Duke Ping asked, "May I hear it?" Shikuang said, "Your virtue and righteousness are shallow; you cannot bear to listen to it." Duke Ping said, "What I love is music. I wish to hear it." Shikuang had no choice but to take up the zither and play it. After one performance, thirty-two black cranes gathered at the hall's entrance; after a second performance, they stretched their necks and cried out, spread their wings and danced.
|
| | 樂書: |
平公大喜，起而為師曠壽。反坐，問曰：「音無此最悲乎？」師曠曰：「有。昔者黃帝以大合鬼神，今君德義薄，不足以聽之，聽之將敗。」平公曰：「寡人老矣，所好者音也，願遂聞之。」師曠不得已，援琴而鼓之。一奏之，有白雲從西北起；再奏之，大風至而雨隨之，飛廊瓦，左右皆奔走。平公恐懼，伏於廊屋之閒。晉國大旱，赤地三年。 |
| | Duke Ping was greatly delighted and rose to offer a toast to Shikuang's longevity. Returning to his seat, he asked, "Is there no sound more sorrowful than these?" Shikuang said, "Yes." "Long ago, the Yellow Emperor used it to greatly harmonize with spirits and deities. Now your virtue and righteousness are shallow, insufficient for you to listen to it; if you do hear it, calamity will follow." Duke Ping said, "I am old now, and what I love is music. Please let me hear it in full." Shikuang had no choice but once again to take up the zither and played it. After one performance, white clouds arose from the northwest; after a second performance, a strong wind arrived followed by rain, tiles flew off the eaves of the hall, and those around him all ran about in alarm. Duke Ping was terrified and crouched down between the corridor and the building. The state of Jin suffered a great drought, with red, barren land for three years.
|
| | 樂書: |
聽者或吉或凶。夫樂不可妄興也。 |
| | Those who listened experienced either good fortune or misfortune. Music must not be arbitrarily performed.
|
| | 樂書: |
太史公曰：夫上古明王舉樂者，非以娛心自樂，快意恣欲，將欲為治也。正教者皆始於音，音正而行正。故音樂者，所以動蕩血脈，通流精神而和正心也。故宮動脾而和正聖，商動肺而和正義，角動肝而和正仁，徵動心而和正禮，羽動腎而和正智。故樂所以內輔正心而外異貴賤也；上以事宗廟，下以變化黎庶也。琴長八尺一寸，正度也。弦大者為宮，而居中央，君也。商張右傍，其餘大小相次，不失其次序，則君臣之位正矣。故聞宮音，使人溫舒而廣大；聞商音，使人方正而好義；聞角音，使人惻隱而愛人；聞徵音，使人樂善而好施；聞羽音，使人整齊而好禮。夫禮由外入，樂自內出。故君子不可須臾離禮，須臾離禮則暴慢之行窮外；不可須臾離樂，須臾離樂則姦邪之行窮內。故樂音者，君子之所養義也。夫古者，天子諸侯聽鐘磬未嘗離於庭，卿大夫聽琴瑟之音未嘗離於前，所以養行義而防淫佚也。夫淫佚生於無禮，故聖王使人耳聞雅頌之音，目視威儀之禮，足行恭敬之容，口言仁義之道。故君子終日言而邪辟無由入也。 |
| | Tai Shigong said: The enlightened kings of the ancient past who performed music did so not for their own pleasure or to indulge their desires, but in order to achieve good governance. Those who correct moral instruction all begin with sound; when the sound is upright, conduct becomes upright as well. Therefore, music and sound are used to stir the blood vessels, circulate the spirit, and harmonize the mind with righteousness. Hence, the Gong mode affects the spleen and harmonizes with righteousness and sainthood; the Shang mode affects the lungs and harmonizes with justice; the Jue mode affects the liver and harmonizes with benevolence; the Zhi mode affects the heart and harmonizes with propriety; the Yu mode affects the kidneys and harmonizes with wisdom. Therefore, music is used internally to assist in cultivating a righteous mind and externally to distinguish between noble and humble ranks; it is employed above to serve ancestral temples, and below to transform the common people. The qin is eight chi and one cun long, which represents the correct standard of measurement. The thickest string is Gong, placed in the center, representing the ruler. Shang is stretched to the right side; the rest of the strings follow in order by thickness, not deviating from their sequence—thus the positions of ruler and minister are properly established. Therefore, hearing the Gong tone makes people warm, relaxed, and expansive; hearing the Shang tone makes people upright and fond of righteousness; hearing the Jue tone makes people compassionate and loving toward others; hearing the Zhi tone makes people joyful in virtue and fond of giving; hearing the Yu tone makes people orderly and fond of propriety. Ritual comes from outside, while music arises from within. Therefore, a gentleman cannot for an instant be separated from ritual; if he is even momentarily apart from it, his rude and arrogant behavior will manifest outwardly; he cannot for an instant be without music; if he is even briefly apart from it, his deceitful and wicked conduct will arise within. Therefore, musical tones are what cultivate righteousness in a gentleman. In ancient times, emperors and feudal lords never left the court without listening to bells and stone chimes; high-ranking officials and gentlemen never went anywhere without hearing the sounds of qin and se—this was done in order to cultivate moral conduct and prevent licentiousness. Licentiousness arises from the absence of ritual; therefore, sage kings ensured that people heard refined and solemn music with their ears, saw dignified rituals with their eyes, practiced respectful behavior with their feet, and spoke words of benevolence and righteousness. Therefore, a gentleman can speak all day without any opportunity for evil or deviant thoughts to enter.
|
