鐔津文集 5.4

5.4

禮王道之始也。樂王道之終也。非禮無以舉行。非樂無以著成。故禮樂者王道所以倚而生成者也。禮者因人情而制中。王者因禮而為政。政乃因禮樂而明效。人情莫不厚生而禮樂之養。人情莫不棄死。而禮正之喪。人情莫不有男女。而禮宜之匹（一本作正）人情莫不有親疎。而禮適之義。人情莫不用喜怒。而禮理之當。人情莫不懷貨利。而禮以之節。夫禮舉則情稱物也。物得理則王政行也。王政行則其人樂而其氣和也。樂者所以接人心而達和氣也。宮商角徵羽五者樂之音也。金石絲竹匏土革木八者樂之器也。音與器一主於樂也。音雖合變非得於樂則音而已矣。是故王者待樂而紀其成政也。聖人待樂以形其盛德也。然則何代無樂與。何代無禮與。禮愈煩而政愈隳。樂愈舉而時愈亂。蓋其所制者禮之儀也。非得其實也。所作者樂之聲也。非得其本也。夫樂之本者在乎人和也。禮之實者在乎物當也。昔有虞氏也修五禮。故其治獨至於無為恩洽動植。而鳩鵲之巢可俯而觀。乃韶作而鳳凰來格。故孔子曰。韶盡美矣。又盡善也。蓋言舜修禮得禮之實也。作樂得樂之本也。叔孫通制禮。事禮之儀者也。杜夔修樂。舉樂之文者也。舉文則宜其治之未臻也。事儀則宜乎其政之未淳也。夫禮所以振王道也。樂所以完王德也。故王者欲達其道而不極（極或作及）於禮。欲流其德而不至於樂。雖其至聖。無如之何也。人君者禮樂之所出者也。人民者禮樂之所適也。所出不以誠則所適以飾虛。所出不以躬則所適不相勸。是故禮貴乎上行。樂貴乎下效也。夫宗廟之禮所以教孝也。朝覲之禮所以教忠也。享燕之禮所以教敬也。酢醻之禮所以教讓也。鄉飲之禮所以教序也。講教之禮所以教養也。軍旅之禮所以教和也。婚娉之禮所以教順也。斬衰哭泣之禮所以教哀也。夫教者教於禮也。禮者會於政也。政以發樂。樂以發音。音以發義。故聖人治成而作樂也。因音以盛德也。因宮音之沈重廣大以示其聖。因商音之剛厲以示其斷。因角音之和緩以示其仁。因徵音之勁急以示其智。因羽音之柔潤以示其敬。律呂正也。以示其陰陽和也。八風四氣順也。以示其萬物遂也。猶恐人之未睹。故舞而象之。欲其見也。恐人之未悉。故詩以言之。欲其知也。感而化之則移風易俗存乎是矣。是先王作樂之方者也。

Ritual is the beginning of the kingly way; music is the completion of the kingly way. Without ritual, there is no way to put it into action; without music, there is no way to manifest its fruition. Therefore, ritual and music are that upon which the kingly way relies to generate and complete [all things]. Ritual regulates the mean in accord with human feelings; the king governs in accord with ritual; governance demonstrates its efficacy in accord with ritual and music. In human feelings, none does not value life richly, and ritual and music nurture it; in human feelings, none does not grieve at death, and ritual corrects it with mourning; in human feelings, none does not have men and women, and ritual makes appropriate their mating (one text reads 'corrects'); in human feelings, none does not have intimacy and distance, and ritual adapts them with righteousness; in human feelings, none does not exercise joy and anger, and ritual regulates them to what is fitting; in human feelings, none does not harbor desire for goods and profit, and ritual restrains them by moderation. When ritual is instituted, feelings correspond to things; when things attain their principle, kingly governance is practiced; when kingly governance is practiced, its people are joyful and their breath is harmonized. Music is that by which the human mind is engaged and harmonious breath is communicated. Gong, shang, jiao, zhi, and yu: these five are the notes of music. Metal, stone, silk, bamboo, gourd, clay, hide, and wood: these eight are the instruments of music. The notes and the instruments are entirely governed by music; though the notes combine and modulate, if they do not derive from music, they are merely notes. For this reason, the king relies on music to chronicle the success of his governance; the sage relies on music to give form to his abundant virtue. If so, then what era has lacked music? What era has lacked ritual? Yet the more cumbersome ritual becomes, the more governance deteriorates; the more music is performed, the more the times become chaotic. This is because what was instituted was the outward etiquette of ritual, not its substance; what was composed was the mere sound of music, not its root. Now, the root of music lies in human harmony; the substance of ritual lies in things being appropriate. Anciently, the Lord of Youyu cultivated the five rituals; hence his governance alone attained non-action, his kindness permeated animal and plant life, and the nests of doves and magpies could be peered into by bending down. Then the Shao music was performed, and the phoenix arrived. Therefore Confucius said: 'The Shao is completely beautiful, and also completely good.' This meant that Shun cultivated ritual and obtained the substance of ritual; he composed music and obtained the root of music. Shusun Tong instituted rituals, but he merely attended to the etiquette of ritual. Du Kui cultivated music, but he merely promoted the outward adornment of music. Promoting mere adornment, it is natural that his governance was not perfected; attending to mere etiquette, it is natural that his governance was not pure. Now, ritual is that by which the kingly way is invigorated; music is that by which the kingly virtue is perfected. Therefore, if a king wishes to make his Way prevail without carrying ritual to its utmost (some editions read 'ji' [utmost], others read 'ji' [reaching]), or wishes to cause his virtue to flow forth without arriving at music, even though he be a supreme sage, nothing can be done. The sovereign is the source from which ritual and music issue; the common people are those to whom ritual and music are directed. If that from which they issue is not authentic, then those to whom they are directed will adorn themselves with emptiness; if that from which they issue is not practiced in person, then those to whom they are directed will not encourage one another. For this reason, ritual is prized when practiced by superiors; music is prized when emulated by inferiors. The rituals of the ancestral temple are that by which filial piety is taught; the rituals of the court audience are that by which loyalty is taught; the rituals of feasting and banqueting are that by which respect is taught; the rituals of pledging and toasting are that by which deference is taught; the rituals of the local drinking ceremony are that by which hierarchy is taught; the rituals of lecturing and instructing are that by which cultivation is taught; the rituals of the army and campaign are that by which harmony is taught; the rituals of marriage and betrothal are that by which compliance is taught; the rituals of the unhemmed mourning garment and weeping are that by which grief is taught. Instruction is instructed through ritual; ritual converges in governance; governance gives rise to music, music gives rise to notes, and notes give rise to righteousness. Therefore, when the sage's governance is achieved, he composes music; relying on notes, he manifests abundant virtue. Relying on the heavy, deep, broad, and vast quality of the gong note, he demonstrates his sagacity; relying on the stern vigor of the shang note, he demonstrates his decisiveness; relying on the gentle mildness of the jiao note, he demonstrates his benevolence; relying on the swift force of the zhi note, he demonstrates his wisdom; relying on the soft moistness of the yu note, he demonstrates his reverence. The pitch pipes are made correct to demonstrate that yin and yang are harmonious; the eight winds and four seasonal qi are made compliant to demonstrate that the myriad things flourish. Still fearing that people have not seen it, he dances it in mimetic dance, wishing them to see it; fearing that people have not fully understood it, he expresses it in poetry, wishing them to know it. Inspiring and transforming them, the reform of manners and customs lies within this. This is the method by which the ancient kings composed music.