鐔津文集 5.4

5.4

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.