ssc {i Yoo Chinese Te Prot Chinese Text Project BREB - Yue Ji) engisn vansiaion James Legge Books referencing (#2) Library Resources [Also known as: "Record of music") @® #e: Yue si: @ #2: Yue si © see: Yue vi psoas AB 2H > BADE > A Zi MEZA ° RERMNTMD » ACEO ° SHA RES; WRT BZA: LETMRS RAE BoM. All the modulations of the voice arise from the mind, and the various affections of the mind are produced ‘. Constitute what we call the modulations of the voice. The combination’ of those modulated sounds. 90 as {0 give pleasure, and the (direction in harmony with them of the) shields and axes, and of the plumes and ‘oxtails, constitutes what we call music. SE» BZ AeE HH 5 BUREAU ZRH th « PAGER ORS » SeREMELY - HRORE > HRMS - HEOME HBB Rome H BERGDUM » HORA > OREM « FBO » OMAR » aE oe th > BRM « BATE WURDE + HUMLLMIER + RAIL BE BAST » UDA » ASR » BARU 5 BRIAR EROD HISAR the Music's (us) the production ofthe modulations of the voice, and its source nthe atfctens ofthe mind a ts ftuorcad by externa things When he rind moved eso he eens fara away; won tis mved io pleas, to sound slow an gone cer ie ee ee ‘curds excamator and soon deappoar;whon Is moved tanger is ceed eee ey when ts moved to reverence, the scund's tlghtfowerd, mites aeehenn Poca eee oo tmoved to fovo, tho sounds harmonious and eo Those oh poculans of ee rn ea nay Inciato the imprssionsproguced by astameh tgs On the onary, itrogard ote tune by whch th mind wae eecles And es (eye nca as were wa! meri ams aright musi to gve harmony tet vicse: las any hee ee a eto rd agin! a tondenle fo wv Te onda wich caremecion nae coe ante Sandals one; hy are the nerumeris by whch ihe nde fe rosea ee ae tern goversmort ic mede'e appear ABS > EAE th » HDD > ATER RX SE BAAS ERUK RBA: MH LHRU > HEE - CMZERS HR ‘Al modulations ofthe voice spring from the minds of men. When the feelings are moved within, they are ‘manifested inthe sounds ofthe voice; and when those sounds are combined so as to form compositions, We havo what are called airs. Hence, the airs of an age of good order indicate composure and enjoyment ‘The airs of an ago of disorder indicate dissatisfaction and anger, and its goverment is pervareely bad. ‘The airs ofa state going to ruin are expressive of sorrow and (troubled) thought. RG2E ARR EAE AA ABR RAN DAM HaK BL > RUSRAGHR 2 Se + BLAU » SLANG » ROMLAURY >» RE » SMLAL RG ULAR» HM ALAS > Rs RAE BER BS 1B RUG >» RU 2 COR AR » There isan interaction between the words and airs (of the people) and the character of their government. {The note) gong represents the ruler; shang, the ministers; jao, the people: zi, afar; and yu, things f there be no disorder or irregulanty in these five notes, there will be no want of harmony inthe state it mnssn 5 aC: Yue vi o 2 & Yue vi N z a Yuo Ji: apace ji i: Yue Fi - Chines Tent Projet {gong be irregular, (the ait) is wild and broken; the ruler ofthe state is haughty. If shang be irregular, (tho ait) s Jerky; the offices of the state are decayed. If iao be irregular, (the ait) oxpresses anxiety, the People are dissatisfied. If zhi be irregular, (the air) expresses sorrow; affairs are strained. yu be irregular, (the air) is expressive of impending ruin; the resources (of the state) are exhausted. Ifthe five ‘otes aro all regular, and injuriously inorfere with one another, thoy indicate a state of insolent dieordor; and the state where this is the case will at no distant day meet with extinction and ruin. BLE MMS ROR REL LH Cath AE. SRE ML ATAAMIARPLILtH ‘Tho airs of Zheng and Wel were those of an age of disorder, showing that those states were near such ‘an abandoned condition, The airs near the iver Pu, at the mulberry forest, were those ofa state going to tuin, The government (of Wel) was in a stato of dissipation, and the people were uneatieg, calumnating their superiors, and pursuing their private aims beyond the possibility of restraint, ASS ERAOEtH RE MAB - BAG TMSS > SRB th; STORRS > RAH MBF BAIS - BARD ee ARS > BRA > TAMER - ARARMRSAAAS » RSA FIRE > AURUMRRR - REE MOAR Meth. All modulations of sound take their rise from the mind of man; and music is the intercommunication of ‘them in their relations and differences. Hence, even beasts know sound, but not its modulations, ane the masses of the common people know the modulations, but they do not know music. It's only the superior ‘man who can (really) know music. On this account we must discriminate sounds in order to know the as; the ais in order to know the music; and the music in order to know (the character of the government, Having attained to this, we are fully provided with the methods of good order. Hence with him who does ot know the sounds we cannol speak about the airs, and with him who does not know the airs we cannot speak about the music. The knowledge of music leads to the sublle springs that underlie the rules of ceremony. He who has apprehended both ceremonias and music may be pronounced lo be a ossessor of virtue. Virtue means realisation (in one's sett). ROR CME» SRE + RZ» JERR MZ IR > RETODAR Sh=K > AMBER - ARI MAMMA ABTA Sie Re BBAE ZMH > IEMGOMAR Hh KURA 3EZiEth > Hence the greatest achievements of music were not inthe perfection ofthe airs; the (efficacy) of the ‘ceremonies in the sacrificial offerings was not in the exquisiteness of the flavours. In the lute’s for the Ging Miao the strings were of red (boiled) sik, and the holes were wide apart; one lute began, and (only) three others joined i; there was much melody not brought out. In the ceremonies ofthe great sacrifices, {he dark-coloured liquor took precedence, and on the stands were uncooked fish, while the grand soup thad no condiments: there was much flavour left undeveloped. Thus we see thatthe anciont Kings, in their institution of ceremonies and music, di not seek how fully they could satisty the desiras ofthe sppetie, and ofthe ears and eyes; but they intended to teach the people to regulate ther ikings and distikings, and to bring them back to the normal course of humanity. AST > AH ; RAHNTON > HEAR ° MAAN» PREITRTCTR SERIREDINA » ROPES >» ARERNS + RIBMA {t belongs to the nature of man, as from Heaven, to be stil at his birth. His activity shows itself as he is acted on by extemal things, and developes the desires incident to his nature. Things come to him more ‘2nd more, and his knowledge is increased. Then arise the manifestations of iking and disiking. When these are not regulated by anything within, and growing knowledge leads more astray without, he cannot ‘come back to himself, and his Heavenly principle is extinguished, a7‘sna Yue ui: 9 SRR Yuo si: 10 #8RB: Yue Ji: 11 «SBE: Yue ui upstage ft: Ye R- Chines Tet Project RMZEARE + TA ZEEIRAD > UBT Abit « Meme + i ABMBAREH - REAR ZL > AEERLE BBS 5 REARS DAR BES RATE SERRA tx BL Zikth ° Now thore is no end of the things by which man Is affected; and when hs kings and diikings are not {ubject to regulation (rom within), he is changed ito the nature of things as thoy como Before my teat i.e stifles the voice of Heavenly principe within, and gives the utmost indulgence fo the dosios by {pen the dull the Bold make i biter forthe timid; the diseased are nat nursed; the old and young, ARAL ZAR > ABZAH ; BNL» PRA Eeth 5 aE OR » PRA RUSH 5 SMUT + PARIS Seth 5 SOAR» PRIMIESEEth - ABER a RARE BOT Z » UAB S > MSI > OETA» RUE a Therefore the ancient kings, when they Insitute ther ceremonies and music, raguated them by Consideration ofthe requirements of humanity. By the sackcoth worn for parents, the walling, and tho Wweepings, hey defined the terms of the mouming rites, By the bells, drums, shields, and aves, thoy introduced harmony into their seasons of rest and enjoyment. By mariage, capping, and he sssurrption tthe hairpin, they maintained tne separation that should exist between male and famole. By the achory gatherings in the districts, and the feastings at the meetings of princes, they provided for ine conect maintenance of friendly intercourse. Ceremonies afforded the defined expression forthe (affections of {he) people's minds; music secured the harmonious utterance oftheir voices; ts laws of government were designed to promote the performance (ofthe ceremonies and music and punishments fo peard {against the violation of them. When ceremonies, musi, laws, and punishments had everywhere fa ‘course, without irregularity or collision, the method of kingly rule was complete, ASAE: WHA GAA RAMA» OVATE» IBNRIAR © Bt RSMRZEth- BAU URSA; ML AL TAS eRe Ru BRM BIS - IRR» BRE RUBUSS » CLS» BLUES > gu» Fa RUATR > ‘Similarity and union are the aim of music; difference and distintion, that of ceremony. From union comes ‘mutual affection; from difference, mutual respect. Where music prevails, we find @ weak caalescanca; where ceremony prevails, a tendency to separation. I isthe business of the two to blend people's foolings and give elegance to ther outward manifestations. Through the perception of ight produced by {eremony, came the degrees of the noble and the mean; through the union of culture ansing from muse, harmony between high and iow. By the exhibition of what was to be iked and whal was lo be disliked, & SREY > WEL SME ° SENHA » HRS SMEALSZ » AMAR > ADA FG» REERURAG + MUA » MINTIARTS » WMD Mt MTL» BARR REAM TRA BRR REAR oo RUSE © BRELM ARMZH > UROGZARF Ou > UMTS “Music comes from within, and ceremonies from without. Music, coming from within, produces the stilness {ofthe mind): ceremonies, coming from without, produce the elegancies (of manner) The highest sive of ‘music is sure to be distinguished by its ease; the highest style of elegance, by its undemoneratvoreee, {Let music attain its ful results, and there would be no dissatisfactions (in the mind); let coromony do so, sn?rt 120 SREB: 13 #8 Yue Ji ( me Yoo Ji: 15 SRR: apeiron iRiver Lit: ae - Cine Tet Project archers would be no quarrels. When bowings and courtesies marked the government of the kingdom, reresould be what might be described as music and ceremony indeed. Violent oppression of ths peopla ould not ariso; the princes would appear submissively at court as guesis; there would be no oceaten for the weapons of war, and no employment ofthe five punishments; the common people would have no distrosses, and the son of Heaven no need to be angry - such a stato of things would be an univececr ‘music. When the son of Heaven could secure affection between father and son, could lustrate the Crderly relation between old and young, and make mutual respect prevail all within the four seas, then indeed would ceremony (be seen) as power. ARARHA + AMAR - MEME » AALIBRESH » FARA HGR > MARUARSR AH » RO » USA» SHB »- MER BARR ; RSRNSGA ts - WMT» MORELUANIh - ALMISAREHE » BR fee In music of the grandest style there isthe same harmony that prevails between heaven and earth; in ‘geremonies of the grandest form there is the same graduation that exists between heaven and earth Through the harmony, things do not fail (to fulfl their ends); through the graduation we have the saeniices {2 heaven and those fo earth. inthe visible sphere there are ceremonies and music; inthe invisible, the {pintual agencies. These things being so, in all within the four seas, there must be mutual respect and love. The occasions and forms of ceremonies are different, but itis the samo feeling of respect (which ‘hey express), The styles of musical piocos are diffrent, butts the same fealing of love (whieh they ‘romot). The essential nature of ceremonios and music being the same, the inteligont kings, one efor ‘another, continued them as they found them. The occasions and forms wore according to the limes when they were made; the names agreed with the merit which they commemorated, RROD DRT: RAE o RAM > SKER ost mee FAS > BIBSCR A ZERth FEL ERB the HATER (BASIE > RUBS SCR AEN (PAIN » UES aNOR ; BABS aE > ith Hence the bell, the drum, the flute, and the sounding-stone; the plume, the fifo, the shield, and the axe {are the instruments of music; the curvings and strotchings (ofthe body), the bending down and iting up {ofthe head); and the evolutions and numbers (of the performers), with tho slowness or rapidly (of foe Imavernents), are its elegant accompaniments. The dishes, round and square, the stands, he standing dishes, the prescribed rules and their elegant variations, are the instruments of ceremonies; the ascending and descending, the positions high and low, the wheelings about, and the changing of robes, are their elegant accompaniments. Therefore they who knew the essential nature of ceremonies and ‘music could frame them; and they who had leamed their elegant accompaniments could hand than own. The framers may be pronounced sage; the transmitters, intoligent. Inteligence and sagehood are other names for transmitting and inventing. RE > AMA 5 WH > ALTA ° AAT | RENEE «me HAAR > ALAS AAGIRURL » HE PERURR © BRR » PRAAESEAE Eh « ‘Music is (an echo of) the harmony between heaven and earth; ceremonis reflect the orderly distinctions. {fr the operations of) heaven and earth. From that harmony all things receive their being; to those orderly Cistincions they owe the differences between them, Music has its origin from heaven; ceremonies lake {heir form from the appearances of earth. I the imitation of those appearances were camed to excuse, confusion (of ceremonies) would appear; ifthe framing of music were carried to excess, it would be top yohement Let there be an inteligent understanding ofthe nature and interaction of (heaven and earth, and there will be the ability to practise well both ceremonies and music. SAGE > RH; ARIE RE th ERB. eth TERA IG: B2Glth - SAORZAKSE HRBA RMR SFI Sate + RUF BR BR alts © ansrs, Yuo ui: 16 z Yue Ji 17 SRBo: Yoo si: 18 SRR: Yue Ji: apesent orgie ji Li: Yoo Jt- Chae Text Project The blending together without any mutual injuriousness (of the sentiments and the airs on the different instruments) forms the essence of music; and the exhilaration of joy and the glow of affection are ite business. Exactitude and correctness, without any inflection oF deviation, form the substance of eremonies, while gravity, respectfulness, and a humble consideration are the rules for their dlcharge, ‘As to the employment of instruments of metal and stone in connexion with these ceremonies and te ‘music, the manifestation of them by the voice and its modulations, the use of them in the anesetral temple, and at the altars to the spirits of the land and grain, and in sacrificing to (the spirits of) the hills {2nd streams, and fo the general spiritual agencies (in nature) - these are (extemal demonstrations), natural even to the people, ESTER > ABM + VARIO» FOAM ERUAA - Fat see ARH >» DFTTCIRIH - ARE RR | SER. THREES FUGA > MAGA ¢ RATE > MTA - RAMEE 7 When the (ancient) kings had accomplished their undertakings, they made their music (to commemorate them); when they had established their goverment, they framed their ceremonies. The excellence of their music was according to the greatness of their undertakings; and the completeness of ther ‘ceremonies was according to the comprehensiveness of their government. The dances with shields and 6s did not belong to the most excellent musi, nor did the sacrifices with cooked flesh mark the highest Ceremonies. The times of the five Dis ware diferent, and therefore they did not each adopt the music of his predecessor. The three kings belonged to different ages, and so they did not each follow ine Ceremonies of his predecessor. Music carried to an extreme degree leads to sorrow, and coarseness in Ceremonies indicates something one-sided. To make the grandest music, which should bang with t no element of sorrow, and frame the completest ceremonies which yet should show no one-sidedness, could be the work only of the great sage. ABH E > BOBO» TARBTR » RTA > ATL > TORS » AE BER Cth s > Bith - (CURT » BTR» MarR. BERTIE A ABA » TTA « AAR > IRR » AREAS FMBR ° There are heaven above and earth below, and between them aro distributed all the (verious) beings with their different (natures and qualities) - in accordance with this proceeded the framing of ceremonies. (The influences of) heaven and earth flow forth and never cease; and by their united action (the phenomena of) production and change ensue - in accordance with this music arose. The processes of growth in Spring, and of maturing in summer (suggest the idea of) benevolence; those of in-gathering in autumn and of storing in winter, suggest righteousness. Benevolence is akin to music, and righteousness to ceremonies. Harmony is the thing principally sought in musie - i therein follows heaven, and manifests the spirit-ke expansive influence characteristic of it, Normal distinction isthe thing aimed atin. ceremonies - they therein follow earth, and exhibit the spirt-like retractive influence characteristic of it Hence the sages made music in response to heaven, and framed ceremonies in correspondence with arth. Inthe wisdom and-completeness of their ceremonies and music we see the directing power of heaven and earth ROMS» SER « RLM PS «BRE Am HER HE MUARD > RUNES ATL » AEA » ZENARTE 5 OO » RAMA Bith « {Te rlaion) between rr and ministor was dtemnined rom a consdeation of heaven (conceived of ‘@s) honourable, and earth (conceived of as) mean. The positions of noble and mean were fixed with a reference to the heights and depths displayed by the surface (of the earth). The regularity with which movement and repose follow each other (in the course of nature) led to the ‘consideration of affairs as. Smal and great The aforent quarters (oth hoavers) ae grupo ogee wee eae sath) ar dstrgushos by thor separate chars ana Is garene aa a cos and tor otbutos and funclons. In haven tore ar fonned ta vee he ee a {erase vay) tn: and th wes that cororanos wee Yet ee ees Kcovon and oct sar250001 > SiC: Yue di: @) mz Yue Ji: 21 MRC Yue di: 220 MBC Yuo Ji: 23° MARC: Yue si: Gs) me Yoo Ji: np eat oni LW: Yue J Chae Tent Projet HALE AAT RIE EE ROE BOR ZUADURS » HEZIAELA > TELLUS » SOURIS Ath © ‘The breath (or influence) of earth ascends on high, and that of heaven descends below. These in their repressive and expansive powers come into mutual contact, and heaven and earth act on each otter {The susceptibilities of nature) are roused by the thunder, excited by the wind and rain, moved by the four Seasons, and warmed by the sun and moon: and all the processes of change and growth vigorovsly, Proceed. Thus it was that music was framed to indicate the harmonious action of heaven and earl? {ERASRUAE » BRBPRUNLAL 5 Rh th & RARE RWTEE ih TFRBTET RH ; SAM - REA. TIMER = ABSA» BAYS «HSA Mth - ABA BRR U1 these processes took place out af season, there would be no (vigorous) life; and if no distinction wore Chserved between males and females, disorder would ariso and grow - such isthe nature ofthe (afferent uals of) heaven and earth. When we think of ceremonies and music, how they roach tothe height of heaven and embrace the earth; how there are in them the phenomena of retrogression and expansion: {and a communication with the spii-ike (operations of nature), we must pronounce their height the highest, their reach the farthest, their depth the most profound, and their breadth the greatest. Music appeared in the Grand Beginning (of all things), and ceremonies had their place on the completion of them. Their manifestation, being ceaseless, gives (the dea of) heaven; and again, being motionless, {ives (Ihe dea of) earth. Through the movement and repose (oftheir interaction) come all things botween heaven and earth. Hence the sages simply spoke of coremonies and music. Se AARLSRM » BARRE Anciently, Shun made the tuto with five strings, and used it in singing the Nan Feng. Kul was the first who Composed (the piaces of) music to be employed by the feudal lords as an expression of (the royal) approbation of them, RAF ZAR UMERZABE - ALAR > TBR BARD DAS» BRERA » FATHER ; SUGRIGE » FS TMUG - METS» AUR | RR > RTH ‘Thus the employment of music by he son of Heaven was intended to reward the most vituous among the feudal ords. When their virtue was very great, and their instructions were honoured, and all the Cereals ripened in their season, then they were rewarded by (being permitted) the use of the music Hence, those of them whose toils in the government ofthe people were conspicuous, had thelr roms of antomimes extended far, and those of them who had been indiflerent tothe goverment ofthe people had those rows mado short. On seeing their pantomimes, one knew what was (the degree of) ther vue, {Gust 2s) on hearing their posthumous designations, we know what had been (the character of) thelr conduct. (KS) > Bzth > Ca > > CRD > BH? CE) > Ath ZR BR The Da Zhang expressed the brillance (of its author's virtue; the Xian Chi, the completeness (ots author's); the Shao showed how (its author) continued (the virtue of his predecessor; the Xia, the Greatness (of is authors virtue); the music of Yin and Zhou embraced every admirable qually. AML > VERSE > AGA - Me RIS; SRS th: BSRZMAtH ; BRARURTD » PAUSED AMI - DISH» SRY TRBR > In the interaction of heaven and earth, if cold and heat do not come at the proper seasons, linesses arise {among the people); if wind and rain do not come in their due proportions, famine ensues. The onsos00 25 Ske: Yue Ji: Yue Ji Yuo Ji: 28 SRAD: paricest opi i: Yo Chinese Tet Projet instructions (oftheir superiors) are the people's cold and heat if they are not what the time requires, an injury is done to society. The afairs (of their superiors) are the people's wind and rain; if they are net ‘property regulated, they have no success. n accordance with this, the object of the ancient kinge in their Practice of music was to bring their government into harmony with those laws (of heaven and art). Hit ‘was goad, then the conduct (of the people) was lke the virtue (of their suporior). ARAB + IAB > RAR ABET « RBAERRE @- SR28) RIAA RAMA REER ; HACE ZARA © MERE MASK s MAAR ; MAREE {The feast on) grain-fed animals, with the adjunct of crinking, was not intended to produce evil, and yet ‘cases of Itigaion are more numerous in consequence of tit isthe excessive drinking which produces {the evi, Therefore the former kings framed the rules to regulate tho drinking, Whore there fs (but) ono presentation ofthe cup (at one time), guest and host may bow to each other a hundred times, and dank {ogether all the day without getting drunk. This was the way in which those kings provided against ovil consequences. Such feasts served for the enjoyment of the parties at them. The music was mtended to llustrate virtue; the ceremonies to restrain excess. BRAEAAR > WAMU: BAR MARDERS RRS. Bb WS - MHS BASH TASER HEAR BRB > tk KEBAB Hence the former kings, on occasions of great sorrow, had their rules according to which they expressed ‘heir grief| and on occasions of great happiness, they had their rules by which they expressed thor Pleasure. The manifestations, whether of grief or joy, were all bounded by the limits of these rules. In music the sages found pleasure, and (saw that) it could be used fo make the hears of the people good. Because of the deep influence which it exerts on a man, and the change which it produces in manrore ‘and customs, the ancient kings appointed it as one of the subjects of instruction. ‘ARAMA OAH » TREE A + RRRCMNTTD » eRe OoETERE - ARERR SE» MBB - ES MMA ZHE » TERRES - MB SARAZHfE > TRAM - RE BE RAE TA Re MARAT MARCA Z Bite > TDERARRE + RERWAR MIRE THERIEML ° Now, in the nature of men there are both the energy of their physical powers and the inteligence of the ‘ming; but for their (affections of) grief, pleasure, joy, and anger there are no invariable rules, They are moved according to the extemal objects which excite them, and then there ensues the manifestation of {he various faculties ofthe mind, Hence, when a (rule's) aims are small, notes that quickly die awaly ‘characterise tho music, and the people's thoughts are sad; when he is generous, harmonious, and cf a Placid and easy temper, the notes are varied and elegant, wth frequent changes, and the people are Satisfied and pleased; when he is coarse, violent, and excitable, the notes, vehement at first and distinct {r the end, are full and bold throughout the piece, and the peopie are resoluto and daring; when he is Pure and straightforward, strong and correc, the notes are grave and expressive of sincarly, and the people are sett-controlied and respectful; when he is magnanimous, placid, and kind, the notes are ‘natural ful, and harmonious, and the people ar affectionate and loving: when he is careless, leordorl, perverse, and dissipated, the notes are tedious and il-regulated, and the people proceed to excoaees and disorder. ARALAZIME B2EM HMR - SARA WAM eS PTOI » PSTD » RUSS » AAR» DONBSERSHTTRER SE > Be ALTAR th | MAUS RM BAIR» DUM NK m7easnees Yue Ji: 29 MRR: Yue di © e Yue Ji 31 MRS: apse onus Leet -Chiee Tex Poet 2AM CARA ZAR > DUET » CERITRLRR RAN 75 » BRE RERN » WA: URLS 4 ‘Therefore the anciont Kings (in framing their music), laid ts foundations in tho feelings and natura of men; {hey examined the notes) by the measures (or the length and quality of each) and adapted ito orprece the meaning ofthe ceremonios (in which it was to be used). They (thus) brought itinto harmony wih tee enorgy that produces life, and to give expression to the performance ofthe five regular conetlconts of ‘moral worth. They made it indicate that energy in its Yang or phase of vigour, without any dissipation of its power, and als in its Yin or phase of remission, without the vanishing of ts power. The stiong piace ‘showed no excess lke that of anger, and the weak no shrinking like that of pusilanimity, Those too ‘characteristics blended harmoniously inthe minds of men, and were sitlary manifested in tres ecnduct Each occupied quietly in ts proper placo, and one didnot interfer injurously with another. After his thoy established schools for (teaching their music), and diferent grades (for tho learners) They marked sweat {uly the divisions ofthe pieces, and condensed into small compass the parts and variations giving Vessty and elegance, in order to regulate and increase the inward Virtue (ofthe learners) They gave lancer great and smal notes according fo their names, and harmonised the order of the begining and tno onay {0 represent the doing of things. Thus they made the underlying principles of the relations between tre ‘ear and distant relatives, the noble and mean, the old and young, males and females, all to seeear ‘manifestly in the music. Hence itis said that in music we must endeavour to eee is depths: CRU ATR + SRRURURRA » SURERUAE ORR» ERLE ORNE « ABABRDAE MMAR BLUE» FOG « RERUEST » BRR BR LRG ZLAMMEM SE > BUBFRI th When the soil is wom out, the grass and trees on it do. not grow well. When water is offen troubled, the {ish and tortoises in it do not become large. When the energy (of nature) is decayed, its production of things does not proceed freely. In an age of disorder, ceremonies are forgotten and neglected, and music becomes licentious. in such a case the notes are melancholy but without gravity, or joyous without of treachery and villainy; in small matters he becomes greedy and covetous, There is a diminution in him f the enduring, genial forces of nature, and an extinction of the virtue of satisfaction and harmony, On this account the Superior man despises such (a style of music and coremonies). : ARPRRRLA > TESEREZ 5 LARS» TORRE - TERRA > TOILE 2 RRR > TRS - BAAR DE SRD ; TRS, HE SURSM - BMAF RAMA > LMR ° ABEL ES REBU ; SRE AG - HBR LARS ABAD - ADEA IELTS Whenever notes that are evil and depraved affect men, a corresponding evil sprit responds to them (from within); and when this evil spirt accomplishes its manifestations, licentious music is the resull. Wheneucr Notes that are correct affect men, a corresponding correct spirt responds to them (from within); and when {his corract spirit accomplishos its manifestations, harmonious music isthe result. The inating cause, {and the resull correspond to each other. The round and the deflected, the crooked and the straight, have {ch its own category; and such isthe character of all things, that they affect one another severally <2ccording fo their class. Hence the superior man retums to the (good) affections (proper to his nature) in ‘order to bring his will info harmony with them, and compares the differant qualities (of acon) in order to Perfect his conduct. Notes that are evil and depraved, and sights leading 0 disorder, and lientiousnese, fre not allowed to affect his ears or eyes. Licentious music and corruptad ceromonigs are not avinitted Into the mind to affect its powers. The spirit of idleness, indifference, dopravity, and perversity finds no exhibition in his person. And thus he makes his ears, eyes, nose, and mouth, the apprehensions of hie ‘mind, and the movements of all the parts of his body, all follow the course that is correct, and do that which is right. RABI TASS > OAT» OLE HE - RRS He UAL SR - RAARK > RAS ete SDTEE - anspect Yue Ji: 32 SRBC: Yue si: 33 SRR: Yue Ji: & z a Yue Ji: 35 SRG: pesca organi i: Yee i- Chines Text Project BMRA - RERTAAL > /\AMETAH > SRBRTAM - VAS Al: RGIRCE ° (BALE > BBE > AORTA HERRERA ¥ BARE RRR ‘fier this there ensues the manifestation (of the inward thoughts) by the modulations of note and tone, the elegant accompaniments ofthe lutes, small and large, the movements with the shield and battloaxe, the ornaments of the plumes and ox-tals, and the concluding with the pipes and flutes. Al iis has the effect of exhibiting the briliance of complete virtue, stirring up the harmonious action of the four (seasonal) energies; and displaying the true natures and qualities of all things. Hence in the fine and gistinct notes we have an image of heaven; in the ample and grand, an image of earth; in their boginning and ending, an image ofthe four seasons; in the wheelings and revolutions (of the pantomimes), an image of the wind and rain. (The five notes, ike) the five colours, form a complete and elegant whole, without any confusion. (The eight instruments of different materials, lke) the eight winds, folow the ‘musical accords, without any irregular deviation. The lengths of all he different notes have thelr definite measurements, without any uncertainty. The small and the great complete one another. The end loads on {0 the beginning, and the beginning to the end. The key notes and those harmonising with them, the, ‘sharp and the bass, succeed one another in their regular order. Therefore, when the music hes fit ‘course, the different relations are clearly defined by it; the perceptions of the ears and eyes become ‘harp and distinct the action ofthe blood and physical energies is harmonious and calm; (bad) influences are removed, and manners changed; and all under heaven there is entire repose. ARE | REAR» BF RVGIOM A SERAR » LUMBAR » RURTOREL ; SAR» RURRTTZRAR © Hence we have he saying, "Wher ther is music thre a oy Superior men repice nating ote course (which they wah fo pursue); and smelt men in cbling Ne ine wee a ng oe objects of desire aro regulated by a consideration ofthe course to be pursued, there is joy without any disorder. When those cbjects lead to the forgetfulness of that course, there is delusion, and no joy. ERAT RAMMNG > RRURER » RTTURMA > ABE » way HEciwth ° RAB SAM MIB ERG MEIER th SBRSth- SSA ARGS - RAUETISUA > MaTTt Mi: AURA PTR > RATA & It's for this purpose that the superior man retums to the (good) affections (proper to his nature), in order to bring his will into harmony with them, and makes extensive use of music in order to perfect his, instructions. When the music has free course, the people direct themselves to the quarter (to which they Should proceed), and we can soe (the power of) his virtue. Virtue isthe strong stein of (man's) nature, {and music is the blossoming of virtue. Metal, stone, silk, and bamboo are (the materials of which) the, instruments of music (are made). Poetry gives expression tothe thoughts; singing prolongs the notes (of the voice); pantomimic movements put the body into action (in harmony with the sentiments), These three things originate in the mind, and the instruments of the music accompany them. In this way the affections (from which comes the music) are deeply seated, and the elegant display of them is brilliant. All {ho energies (ofthe nature) are abundantly employed, and their transforming power is mysterious and Spirt-lke. A harmonious conformity (to virtue) is realised within, and the blossoming display of Iti, conspicuous without, for in music, more than other things, there should be nothing that is pretentious or hypocritical. RE Dh; BH RK CRG Bo wth- BPH”. "Music springs from the movement of the mind; the notes are the manifestation ofthe music; the elegant colours and various parts are the omaments of the notes. The superior man puts its fundamental cause in movement, makes its manifesting notes into music, and regulates its omaments. RAR MARR - BARE SSAA BALES» RLY GEG - RTO TR > MTORR ° RI» ARAL; RSG RL onteso Yoo i: 36 MRR: Yuo si: 37 SRE: Yue Ji: ® 5 Yue ui 39 MRD: Yue Ji 40 MRC: Yue si: pseext onic if: Yoo - Chinese Tent Project KR ° RUMI » RATS - SFLU NADER RA: ER 2i8 > RAAT + Thus they first strike the drum to wam (the performers) to be in readiness, and (the pantomimes) take three steps to show the nature of the dance. This is done a second time and they bogin to move forward; {and when they have completed their evolutions, they return and dress their ranks. However rapid thelr ‘movements may be, there is nothing violent in them; however mysterious they may be, they are nol ‘beyond the power of being understood. One, studying them alone, finds pleasure in the object of them, land does not tre in his endeavours to understand them. When he has fully understood them, he doos not keep what he desires to himself. Thus the affections (of oy) are displayed; the (ideal) of rightoousnoss is, established; and when the music is ended, the (due) honour has been paid to virtue. Superior men by it ;oursh their love of what is good; small men in it hear the (correction of their errors. Hence itis said, that ‘Yor the courses to be pursued by men the influence of music is great.’ SR Hath 5 ART «ILA ; TOI RLS - ee. RE RAAth - |n music we have the outcome and bestowal (of what its framers fel) in coremonies a retum (for what their performers had received). Music expresses the delight in what produces it, and ceremonies lead the ‘mind back to (the favours) which originate them. Music displays the virtue (of the framer). ceremonies are 2 rotum of the feelings (which led to them), as carrying the mind back to what originated them, AWE» RIZE MIU REL PRME RTIRw the GEZDURE DR RUPTURE RH « Whats cto Grand crag’ one which s (hw go he sono Heaven he apt ragone, nd A nineeolaped border was bro’ conlonea besos elses a a cago edging exhibited the precious tortoises, and was (also the gift of) the son of Heaven; and when these. were followed by herds of oxen and sheep, they were the gifts bestowed on the feudal lords. RS MLTTRS th Mes BIRT Rh - ME) MR RK > BSLARR > {In music we have the expression of feelings which do not admit of any change; in ceremonies that of principles which do not admit of any alteration. Music embraces what all equally share; ceremony ALTE ‘To go to the very root (of our feelings) and know the changes (which they undergo) is the province of ‘music; to display sincerity and put away all that is hypocritical is the grand law of ceremonies, Ceremonies and music resemble the nature of Heaven and Earth, penetrate to the virtues of ihe spiritual Inteligences, bring down the spirits from above, and raise up those whose seat is bolow. They give a sort of substantial embodiment of what is most subtle as well as material, and regulate the duties between father and son, ruler and subject. ERAARER » RUAN » AUK » MEG > ID - RORAKR EH DAE AME RAM HSU. seem. RES TESA > RUMI ‘Therefore, when the Great man uses and exhibits his ceremonies and music, Heaven and Earth will in ‘response to him display their briliant influences. They will actin happy union, and the enorgies (of nature), now expanding, now contracting, will proceed harmoniously. The genial airs from above and the responsive action below will overspread and nourish all things. Then plants and trees will grow luxurianty; curling sprouts and buds will expand; the feathered and winged tribes will be aetive; homs 7sspsn2i @ Bi: Yue Ji: aR: Yue Ji: nepsce ogi i: Woe Fi Chinese Tet Projet and antlers will row; insects will come tothe ight and revive; birds will reed and brood; the haity tribes will mate and bring forth; the mammaiia will have no abortions, and no eggs will be broken or added and ail wil have to be ascribed to the power of music. RS PORGARRRTBt > MIRA ABMS - aR ML A NES > ARMS > MARA» HATED » MOTNERERES . a ALES 5 RARER IS AUP 5 RRM > AEA aE ATL > BRAT +s TATE > BRAG BRAEALEE BBE. PREPARE th + When we speak of music we do not mean the noles emitted by the Guang Zhong, Da Lu, (and the other ‘musical pipes), the stringed instruments and the singing, or the (brandishing of the) shields and aoe, These are but the small accessories of the music; and hence lads act as the pantomimes. In the same way), the spreading of the mats, the disposing of the vases, and the arranging ofthe stands and dishes, with the movements in ascending and descending, are but the small accassortes of ceremonies: and hhence there are the (smaller) oficers who direct them. The music-masters decide on the lunes and the Pieces of poetry; and hence they have their places with their stringed instruments, and their faces {directed to the north. The prayer-officers of the ancestral temple decide on the various ceremonies in it {and hence they keep behind the representatives ofthe deceased. Those who direct the mourning rites after the manner of the Shang dynasty, have their places (Tor the same reason) behind the presiding our. Iti for this reason thatthe practice of virtua is held to be of superior worth, and the practi of any art of inferior; that complete virtue takes the first place, and the doing of anything, (however ingenious, only) the second. Therefore the ancient kings had their distinctions of superior and inferior, of first and last; and so they could frame their music and ceremonies for the whole Kingdom, BRRARTEA : "SMR + AUNEREL ; Mes. BUREN f° RUE : SHR MGRAlth 2 RISB ROLL AaTth 2 1 ‘The marquis Wen of Wel asked Zi-xia, saying, ‘When in my square-cut dark robes and cap listen to the ancient music, ! am only afraid that I shall go to sleep. When [listen to the music of Kang and Wel, do ot fee! tired; let me ask why | should feel so differentiy under the old and the new music? FEHA: (SRA > HEIR ATED > eB. MPH ee DO) MALS RRL RE BREE Rea aR RoHSKE ° baw Sth xia replied, ‘in the old music, (the performers) advance and rete all together, the music Is harmonious, ‘correct, and in large volume; the stringed instruments (above) and those made from gourd shells wth the, ‘organs and their metal tongues (below), are all kopt walling for the striking of tho drum. The music hret strikes up at the sound of the drum; and when it ends, itis at the sound of the cymbals. The close of each Part ofthe performance is regulated by the Xiang, and the rapidity ofthe motions by the Ya. In (al this {he superior man speaks of, and follows, the way of antiquity. The character is cultivated: the family is regulated; and peace and order are secured throughout the kingdom. This is the manner of the ancient music. SRAM» BBS + RLUE » TOIL | RABE RES RRL Fo RARAPTAG » RETA » IATRS Bth - SAS PATS Mth » AE Sat | ARS RHR 5 ‘But now, in the new music, (the performers) advance and retire without any regular order; the music is Corupt to excess; there is no end tots vleness. Among the players there are dwarfs like monkeys, while boys and girts are mixed together, and there is no distinction between father and son. Such music can ever be talked about, and cannot be said to be after the manner of antiquity. This isthe fashion of the ‘now music. What you ask about is music; and what you like is sound. Now music and eound are akin, but they are not the sam SRA: RAM 71 FRE: CADE RMR > RATE BRE» RACTHEMAIRE » UL ZARA - RBA ARTE > ase wntsas peditent ones 1: Yue Chinese Tat Project #8 + ROMIBRIE » AERA © REAR > MENG > AAR > CREE» ut ZEQE : REZMR: (SH) A: "RRBA RA SH RRA > EULAR 5 ATES >» BISCE » FMS - ER AAL + HRIATA Fea k2Bth- Sk2Hee > RRET 2, ‘The marquis asked him to explain, and Zia replied, ‘in antiquity, Heaven and Earth acted according to their several natures, and the four seasons were wiat they ought to be. The people were virtuous, ard all the coreals produced abundantly. There were no fovers or other diseases, and no apparitions or other brodigies. This was what we call “the period of great order.” After this arose the sages, and set forth the {duties between father and son, and between ruler and subject, for the guidance of society. When these ‘guiding rules were thus correctly adjusted, all under heaven, there was a great tranquility, ater which {hey framed with exactness the six accords (upper and lower), and gave harmony tothe five notes (ofthe Scale), and the singing to the lutes of the odes and praise-songs; constituting what we call "he virtuous airs." Such virtuous airs constituted what we call "Music," as is dectared in the Book of Poetry (Il, ode 7, 4),'Silenty grew the fame of his virtue, His vitue was highly inteligent; Highly intligert, and of rare discrimination; Able fo lead, able to rule, To rule over this great country, Rendering a cordial submission, effecting a cordial union. When (the sway) came to king Wen, His virtue left nothing to be dissatisfied with, He received the blessing of God, And it was extended to his descendants.” May | not say that what you love are the vile airs?” RRA: RMB?) FRNA: MEE Ree > PAAAE AGREK LOSRER EMER > BBR Fath > (iG) Zi: VRUREADIG » SOLER °K» Bit ; ERE» Ath RBA + BRT 2 The marquis said, "Let me ask where the vile airs come from?! Zi-xia replied, ‘The airs of Zheng go toa wild excess, and debauch the mind; those of Song tell of slothful indulgence ‘and women, and drown the mind; those of Wei aro vehement and rapid, and porplex the mind; and those of Q) are violent and depraved, and make the mind arrogant. The airs of those four states all stimulate Hbidinous desire, and are injurious to virtue;~they should therefore not be used at sacrifices. (tis said in the Book of Poetry (IV, ' [Parti], ode 5), "In solemn unison (the instruments) give forth their notes; Our ancestors wil hearken to them.” That solemn unison denotes the grave reverence and harmony oftheir notes - with reverence, ‘blended with harmony, what is there that cannot be done? AARRERMPRMER - BZ MERZ LTD > AIRED - Ge) i URERILBs > UL ZARA © | PR > BLA CEARBE + BE EAR RR ENSRG ZH MAMBPRMAS » FRIES - ET SAREE Zimith » ALARM » PRE th» plett AGSRAZFth > ‘Aruler has only to be careful of what he likes and dislikes. What the ruler likes, his ministers will practise; {and what superiors do, their inferiors follow. This is the sentiment in the Book of Poetry (l,i, ode 10, 6), “To lead the people is very easy.” Seeing this, and after (Ihe repose of the people was secured), the ‘sages made hand-drums and drums, the stopper and the starter, the earthen whistle and the bamboo flute - tho six instruments which produced the sounds of their virtuous airs. After these came the bel, the ‘sounding-stone, the organ with thirty-six pipes, and the large lute, to be played in harmony with thems the shields, axes, ox-tails, and plumes, brandished by the pantomimes in time and tune. These they employed at the sacrifices inthe temple ofthe former kings, at festivals in offering and receiving the pledge cup; in arranging the services of officers (in the temple) according to the rank due to each, as ‘noble or mean, and in showing to future ages how they observed the order due to rank and to age. SE BOATS RATA MOLI - BF RMBAERS - oe. BUA > HABGE - BT IG BABIN » EET» REDLITAE AE Ui: FRSSZHUREAZE TRE ETS ebm Bs FRPEREZE NABEZE REHM BLUE) HWER-B warsea 43 SARC: Yue si 44 MARC: Yuo si Dp oniyee si 1: We Ce Ta Pot FRREZE UEC ZE- BTS RATE soa Azthe “Te bls ge outa canging sound a signal The signals recogsod by al an thet ecognion produces a maril onthsiaam Mion the lor oats seus othe sal ha hone ee ene War The soundig-stonas give outa ning sound, os 9 somone tre oa a nat discrimination may oad tothe encountring ot don When tetas eee a ote Tat Offi fears whe doin detonco fie antes, Thestnged instemen ns can ee eek which preducas tho thought puny and cell, ang awakens he coroner ay Sound fuer hor the sound of he hte ar enor Renae sehen a ara ae instumets of bamboe ge outa Sound ike ate ovettowing eto ort en anes assembly. th oben of wich eo Cle he mules togotion Wen ego ta organs, pipes, and te, ho tanks ois oicos whe gue he pence oct oa tambour give out har ud volume of sound which estos a ae oa Bcvancng afte host, When the er hora tho ounce ot ie arene eer ae 1 te leaders and commends, Wen a superior man hus hears Ns musicales ose ae ar Cniy he saunde nich toy ena Thor are sosclted Goss hice cea RSRGLRULF LFIRZERR- A: RR) SHMZEA 71 BA: AER 5 BBin-mou Jia was siting with Confucius. Confucius talked with him about music, and said, ‘At (the Performance of) the Wu, how isi that the preliminary waming of the drum) continues eo long?" The answer was, ‘To show (the king's) anxlely that al his multitudes should be of one mind with him.” RZ ERS» lth? WA: CBR | ‘How is it that (when the performance has commenced) the singers draw their notes so long, and the Pantomimes move about til they perspire? The answer was, ‘To show his apprehension that some (princes) might not come up in time for the engagement" "SREB ZES > th?1 HA: RB) ‘How isi thatthe violent movement of the arms and stamping fiercely withthe fest begin so soon?’ The answer was, ‘To show thatthe time for the engagement had arrived TRB RE > fItL?4 BE: TARAS © | “How isi that, (in the performance of the Wa.) the pantomimes kneel on the ground with the right knee, hile the leftis kept up?" The answer was, "There should be no kneeling in the Wu," "HERG lth?) NA: ECR) Bthey ‘How i it that the words of the singers go on to speak eagerly of Shang?’ The answer was, There should bbe no such sounds in the Wu." FA: Cesk Ct) BRUTE 2) Be: PAIRS SIEAAIE RG UREZERR 1 FA: ME RSME. MESF TAS thes “Buti there should be no such sound inthe Wu, where doos it come from?! The answer was, ‘The officers (f the musi) flied to hand it down correc. they did not do so, tho aim of King Wa weal have been reckless and wrong.’ The Master said, "Yes, what | heard from Chang Hong was to the same effect as what you now say." ReRE SAMBA: (A(R) ZAMZER> RUM Rw ZIMA > fat 24 Bin-mao Jia rose up, lft his mat, and addressed Confucius, saying, ‘On the long-continued warning (of {the drum) in the Wu, I have heard your instructions; but let me ask how itis that aftr that fist delay there is another, and that a long ono?” anvsrsnont inpslicen oti; UY tap FE: Vie! Bik RMA» Det 5 MFT» EHH: Bie FEB KAZ CR) ALB A BDwAth « BR CED» taMst > AOE - =A > ORAM ARMORARBAT » x AOI + RFT TTY > MUCH» DIRT BAT » TUR» MSR ZEH « The Masts, St down, ag | wl tol you, Matic ia reracntation of accompa act The Pantomime stand wit ashe each rot and ma il oprosonng ese tide Ws {ha olen movements ofthe ams an Sorc stamping represen ie enthuse ot xp Tea naan faa re conaisn he peromance opsons ha governs eee ee by (he dese Zhou ané Shas. Moreover to panemines ne es morenon oeaocs inet nt fe inate marca ing agate Sarg nt secon, oy ae te a Shang: tetra they som ho rear maren foe Cou: hve oath hoy outa othe Saute stats ef, roy stow now (edu o) hou ara She woe reo Rosa tha state on toad rt host tey again une atte pont a saris a foe the sano Heaven. Two men one on each sid ofthe promets, cx emnehpes a ieee ‘hey spar sie ana fut, soning ino est awe hick Ge monica Meade ce Thar arancing wih oso men on enh ae shows is eaoross tS eomee fe heath eect Theperomers standing ong gob show how he waied ob ahaa ne mat ASUAMRG LEY 27 REAR - RAFAT LORA RAIN» NHB FENNEL ZEB D BIR » SEFLF2E ALT2D M2AMSMENI «RRM RL = ATO» ZL + TARR 5 RO TBR - ESTAR » TI « IER > LZDURA s HBOZL » MBAR Ri SZAWR - MARES TOR « MMA » ERNE» BE TREZHRH- BEES TREZIRAY LEREMRM SF - RNAR RADA » RRA RRUR - HA» REAR the "An have you lone rt hear he accu of Mu 6? King Water thevicory ever Yin proceeded (a cata Sharan btre he deacon rr is chara hoses concatenate Dit; tows fh Yao wih Zr and thse wD Sn mth Cron Wossnr ete fem he nosis deoconaan a he sverepn ofa wih i'avatiea Re secon eat Seg iota mand ever grave nein son gan rauesed eect imotearment and empoyed timta reco toe paces he stcor wrewoe shea ea ah he Cerro! usage of Shang. The common preie wae elovd fom he resarchar ie a) government hc hey he nares ane he eroumas of he meee lon aes ere Soubia: he ington erossed ha Ho, and procaded fo the West hore nee otic eke south of mount ua, nto be yokes agen is nan wore dpotsod in hu waste Seeteasne ot {be puto carnayes agar. rs carol and cons ral wore sinerod win cosa eyed ‘oh asenaly veo bo vos gan. The shale ad ama worsted gate tone a ae fay, wrapped in ge shine which war shed he apyonied casos osteoma wore ien const eal ios ant waa kon trsugrou ta tinguom tang rene ve tour woapans of war no mare. The ary hang both cisanded ne Wrgeemorarcce a to of arcana he cloges tho subuon. Ao crags on ek reat oso eae {sour at that on th igh (or wos) they abt othe ms of ti Sosy Woe ee era gs atchary hich consatedn gg iwcugh a any) sate Case. They moe or tesa rbes and aps wih wor tent arn skin er gs snd oe oS ea eee rds the ig load saree nthe tal of Otic arate poops aa oh fea nt ie ances at cour ards oul lve knowhow thoy euph odo ree re sacred be ld se opr ral proce, anders learas uated bee cee ohovortnee ee thot ae) Thee tgs contd get osare ete we ergo RESHERAS AFOMM > AMT» ATT» RAF > MDL RURAL - BULA » RIO - HU CR) VX» AB waterro mRiB: Yue Ji: 46 SRC: Yue Ji Dpeextonpiyues [LL Ye I Chinese Tea Projet Fly In feasting the three (classes of the) old and the five (classos of the) experienced inthe Great college, he himself (he son of Heaven) had his breast bared and cut up the animals. He (also) proseritod fe tog tre condiments and te cups, He wore the royal cap, and siood witha shield bofore him. In this way he {aught the lords thei brotholy duties. in this manner the ways of Zhou penetratod everywiere ara tho interaction of coromonios and music was established - ist not right that in the performance ote ain there should be that gradual and fong-continuing action” BF: WRATMAAS - BRA BEF OMMER » oH FRR AE RUR » HARES > SERA » AAU » RUBY RUARETTA » FAR ASTOR + BORGES th « BULGARIA » STSAURERR © OBR AAR + HBR LUAZR - MUNARRARA > TBBLOALE ‘A superior man says: ‘Ceremonies and music should not for a moment be neglected by any one. When ‘one has mastered completely (the principles of) music, and regulates Ris heart and mind accordingly, tho ‘natural, correct, gentle, and honest heart is easily developed, and with this development of the hoa comes joy. This joy goes on to a feeling of repose. This repose is long-continued. The man in this {fanstant repose becomes (a sort of) Heaven. Heaven-tke, (his action) is spint-ike. Heaven-ike, he is bolieved without the use of words. Spirt-Ike, he is regarded with awe, without any display of rage, So it tg. when one by his mastering of music regulates his mind and heart. When one has mastored completely {the principle of) ceremonies so as to regulate his person accordingly, he bocomes grave and reverential? Grave and reverential, he comes to be regarded with awe. If the heart be for a moment without the fooling of harmony and joy, meanness and deceitfulness enter it. Hf the outward demeanour be fora ‘moment without gravity and respectfulness, indifference and rudeness show themselves, RMT > DESMO th 5 MAE > DONS tho SMART » HEB » UROTEDA I > RURAGRURES TOSS th ; SeLeeae . TERRA IBIS - ALMIREDIS Pa > TOERAUKIS ; SESHASS » MRSA - aE : BBS HE . BTR 2) RMRBR ° “Therefore the sphere in which music acts is the interior of man, and that of ceremonies is his exterior. {Phe result of music is a perfect harmony, and that of caremonies a perfect observance (of propriely}) ‘When one's inner man is (thus) harmonious, and his outer man thus docile, the people behold his Countenance and do not strive with him; they look to his demeanour, and no feeling of indifference or fudeness arises in them. Thus its that when virtue shines and acts within (a superior), the people are sure to accept (his rule), and hearken to him; and when the principles (of propriety) ae displayed in his ‘conduc, the people are sure (in he same way) to accept and obey him. Hence Its eaid, "Gary oUt perfectly ceremonies and music, and give them thelr outward manifestation and application, ard under heaven nothing difficult to manage will appear." SS > RANA s ME Nth AOE METER» eE TORE > LARA : PART > DURAN « ATARI » ARTA Ks AUARTMRAR - ERB RELAIS; WIE. MOR. RB—th- ‘Music springs from the inward movements (of the soul); ceremonies appear in the outward movements {of the body). Hence itis the rule to make ceremonies as few and brief as possible, and to give to music its fullest development. This rule for ceremonies leads to the forward exhibition of them, and therein ther beauty resides; that for music leads to the introspective consideration of it, and therein ts beauty resides. tr ceremonies demanding this condensation were not performed with this forward exhibition of them, thoy: Would almost disappear altogether; if music, demanding this full development, wore not accompanied th this introspection, it would produce a dissipation of the mind. Thus itis that to every ceremony there {s its proper response, and for music there is its introspection. When ceremonies are responded to, there arises pleasure; and when music is accompanied with the right introspection, there arises the (feeling of) ‘epose. The responses of ceremony and the intrspection of music spring from one and the same ides, ‘and have one and the same object. isn‘6260001 @) mia: Yue si: 48 Yue si 49 RED: Yue Ji: 50° Sad: pstcenoniiipes Li Wo Chios Te Poet AMAR > MEZA tH « ROMS TERE Azitith ° @ BEB + HZ + BHNULE + ATER » RINT « Femi » ABEL - AEWHEL > ABE MOMLAES » GRR RMT > (eH REMTITS - CRM BIS RAMEE LREA SS OTER FEI ORR > BLEIBT th ° Now music produces pleasure - what the nature of man cannot be without. That pleasure must arise from {the modulation of the sounds, and have its embodiment in the movements (of the body) - such ie the rae {humanity These modulations and movements are the changos required by the nature, and they are {found complete in music. Thus mon wil not be without the ministration of pleasure, and pleasure val cot be without its embodiment, but if that embodiment be not suitably conducted, itis impossible that discrder should not arse. The ancient kings, feeling that they would feel ashamed (in the event of such disorior arising), appointed the tunes and words of the Ya and the Sung to guide (in the music), so that ts rotee ‘should give sufficient pleasure, without any intormixture of what was bad, while the worde should ator ‘uficiont material for consideration without causing weariness; and the bends and straight courses, the Swell and diminution, the sharp angles, and soft melody throughout all its parts, should be sufficient str up in the minds of the hearers what was good in them, without inducing any looseness of thought or ‘depraved air to be suggested. Such was the plan of the ancient kings when they framed their susie, RORERM ZH BELTAMZURAA ; ARR RO BCARTAIA | EMM ZA > LER EZ AURA AR BRET) AL > MMAR ; RAMAN - MUAALFES > MAME » BK EURZAth ZTherefore in the ancestral temple, rulors and ministers, high and low, listen together fo the music, and all {s harmony and reverence; at the district and vilage meetings ofthe heads of clans, old and young Iiston together to it, and all is harmony and deferonce. Within the gate ofthe family fathers and sone, brothas ‘and cousins, listen together to it, and all is harmony and affection. Thus in music there is a carsful discrimination (of the voices) to blend them in unison so as to bring out thoir harmony, there ie a union of the (various) instruments to give omamental effect to its different parts; and these paris are combined {and Performod 80 as to complete its elegance. In this way fathers and sons, rulers and subjects are tunited in harmony, and the people of the myriad states are associated in love. Such was the mothed of the ancient kings whon they framed their music. MODUL M2 SRARB RTM BIRR. SEER; TMS BA > TIGER > MEM «MEK SHAS > MEZARBESEt « FURS RED ATE » MRR . ES FRAME «HCE ES > OLE + BUR TALS » AUREL SD 2° KEZM MMAR - In istring othe singing othe Ya and tho Song th ain and hough recive en expansion From he manner imu she and anand rancho, ananassae ihe practice wih tem, new mod up row or own now ek ren eh es ofthe person roles gry. From tho nay win (re panlomaneol nec a eae, Scan femeclvs fo the several pats ote prtaneak eae eee aes Corea te order in advancing ane tinge seco Se a ak ig mad Heaven and Erte regltore ro harmony, an what ig mau a eons He esson of was by muse atta ansent ngs gav cloprt expereince cepanee ih they gave the same air anger Herc te fy ano ang ames ear i eeea a ‘onthe wor fy, al unt heaven wee el wa ons wie ee ePe and disorderly feared them. In the ways of the ancient kings, ceremonies and music may be said to have Stanod poses 1007