| | 天運: |
北門成問於黃帝曰：帝張咸池之樂於洞庭之野，吾始聞之懼，復聞之怠，卒聞之而惑，蕩蕩默默，乃不自得。」 |
| The Revolution of Heaven:...: |
Bei-men Cheng asked Huang-Di, saying, 'You were celebrating, O Di, a performance of the music of the Xian-chi, in the open country near the Dong-ting lake. When I heard the first part of it, I was afraid; the next made me weary; and the last perplexed me. I became agitated and unable to speak, and lost my self-possession.' |
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帝曰：「女殆其然哉！吾奏之以人，徵之以天，行之以禮義，建之以太清。夫至樂者，先應之以人事，順之以天理，行之以五德，應之以自然，然後調理四時，太和萬物。四時迭起，萬物循生；一盛一衰，文武倫經；一清一濁，陰陽調和，流光其聲；蟄蟲始作，吾驚之以雷霆；其卒無尾，其始無首；一死一生，一僨一起；所常無窮，而一不可待。女故懼也。 |
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The Di said, 'It was likely that it should so affect you! It was performed with (the instruments of) men, and all attuned according to (the influences of) Heaven. It proceeded according to (the principles of) propriety and righteousness, and was pervaded by (the idea of) the Grand Purity. The Perfect Music first had its response in the affairs of men, and was conformed to the principles of Heaven; it indicated the action of the five virtues, and corresponded to the spontaneity (apparent in nature). After this it showed the blended distinctions of the four seasons, and the grand harmony of all things - the succession of those seasons one after another, and the production of things in their proper order. Now it swelled, and now it died away, its peaceful and military strains clearly distinguished and given forth. Now it was clear, and now rough, as if the contracting and expanding of the elemental processes blended harmoniously (in its notes). Those notes then flowed away in waves of light, till, as when the hibernating insects first begin to move, I commanded the terrifying crash of thunder. Its end was marked by no formal conclusion, and it began again without any prelude. It seemed to die away, and then it burst into life; it came to a close, and then it rose again. So it went on regularly and inexhaustibly, and without the intervention of any pause: it was this which made you afraid. |
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吾又奏之以陰陽之和，燭之以日月之明；其聲能短能長，能柔能剛；變化齊一，不主故常；在谷滿谷，在阬滿阬；塗郤守神，以物為量。其聲揮綽，其名高明。是故鬼神守其幽，日月星辰行其紀。吾止之於有窮，流之於無止。予欲慮之而不能知也，望之而不能見也，逐之而不能及也，儻然立於四虛之道，倚於槁梧而吟。目知窮乎所欲見，力屈乎所欲逐，吾既不及已夫！形充空虛，乃至委蛇。汝委蛇，故怠。 |
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'In the second part (of the performance), I made it describe the harmony of the Yin and Yang, and threw round it the brilliance of the sun and moon. Its notes were now short and now long, now soft and now hard. Their changes, however, were marked by an unbroken unity, though not dominated by a fixed regularity. They filled every valley and ravine; you might shut up every crevice, and guard your spirit (against their entrance), yet there was nothing but gave admission to them. Yea, those notes resounded slowly, and might have been pronounced high and clear. Hence the shades of the dead kept in their obscurity; the sun and moon, and all the stars of the zodiac, pursued their several courses. I made (my instruments) leave off, when (the performance) came to an end, and their (echoes) flowed on without stopping. You thought anxiously about it, and were not able to understand it; you looked for it, and were not able to see it; you pursued it, and were not able to reach it. All-amazed, you stood in the way all open around you, and then you leant against an old rotten dryandra-tree and hummed. The power of your eyes was exhausted by what you wished to see; your strength failed in your desire to pursue it, while I myself could not reach it. Your body was but so much empty vacancy while you endeavoured to retain your self-possession: it was that endeavour which made you weary. |
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吾又奏之以無怠之聲，調之以自然之命，故若混逐叢生，林樂而無形；布揮而不曳，幽昏而無聲。動於無方，居於窈冥；或謂之死，或謂之生；或謂之實，或謂之榮；行流散徙，不主常聲。世疑之，稽於聖人。聖也者，達於情而遂於命也。天機不張而五官皆備，此之謂天樂，無言而心說。故有焱氏為之頌曰：『聽之不聞其聲，視之不見其形，充滿天地，苞裏六極。』汝欲聽之而無接焉，而故惑也。 |
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'In the last part (of the performance), I employed notes which did not have that wearying effect. I blended them together as at the command of spontaneity. Hence they came as if following one another in confusion, like a clump of plants springing from one root, or like the music of a forest produced by no visible form. They spread themselves all around without leaving a trace (of their cause); and seemed to issue from deep obscurity where there was no sound. Their movements came from nowhere; their home was in the deep darkness - conditions which some would call death, and some would call life; some would call the fruit, and some would call (merely) the flower. Those notes, moving and flowing on, separating and shifting, and not following any regular sounds, the world might well have doubts about them, and refer them to the judgment of a sage, for the sages understand the nature of this music, and judge in accordance with the prescribed (spontaneity). While the spring of that spontaneity has not been touched, and yet the regulators of the five notes are all prepared - this is what is called the music of Heaven, delighting the mind without the use of words. Hence it is said in the eulogy of the Lord of Yan, "You listen for it, and do not hear its sound; you look for it, and do not perceive its form; it fills heaven and earth; it envelopes all within the universe." You wished to hear it, but could not take it in; and therefore you were perplexed. |
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樂也者，始於懼，懼故祟；吾又次之以怠，怠故遁；卒之於惑，惑故愚；愚故道，道可載而與之俱也。」 |
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'I performed first the music calculated to awe; and you were frightened as if by a ghostly visitation. I followed it with that calculated to weary; and in your weariness you would have withdrawn. I concluded with that calculated to perplex; and in your perplexity you felt your stupidity. But that stupidity is akin to the Dao; you may with it convey the Dao in your person, and have it (ever) with you.' |
