1
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？
The Grand Historian says: “Whenever I read the Yu Shu, and reach the passage where ruler and minister mutually admonish one another, I am never without tears. When the limbs are not sound, the ten thousand affairs all fall into ruin.” King Cheng composed the Ode, disciplined himself, and grieved over that family's distress. Could this not be called fearful caution, and the skill of guarding and bringing matters to completion? The gentleman does not cultivate virtue only when in straits; when full, he does not abandon ritual; at ease, he can remember the beginning; in comfort, he can hold to the start. He bathes in favors and yet sings of hard work—who, but one of great virtue, could be like this! The tradition says: “When governance is settled and merit achieved, then ritual and music arise.” Within the realm, human affairs grow ever more intricate; virtue grows ever more complete; and what people take joy in grows ever more varied. When full but not diminished, it overflows; when complete but not held, it topples. Music is made in order to regulate joy. The gentleman takes modesty and withdrawal as ritual, diminution, and restraint as music, and delights in being so. Since regions and states differ, and people's dispositions and habits are not the same, one must gather widely from local customs and harmonize the pitch-pipes. In this way, what is lacking may be supplemented, what needs transforming may be transformed, and governance and teaching may be assisted. The Son of Heaven personally presides in the Bright Hall, and the ten thousand people all wash away impurity, temper themselves, and enrich their natures. Thus, the saying goes: the sounds of ya and song bring order, and the people are set right; the cries of yu and jiao stir the scholars; the tunes of Zheng and Wei move the heart toward licentiousness. When it reaches harmonious blending and musical union, even birds and beasts are moved; how much more so those who harbor the five constants and know likes and dislikes? This is the natural tendency.
2
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 the way of governance declines and Zheng music arises, lords become hereditary in their fiefs, their names spread through neighboring states, and each vies to outdo the others. Because Confucius could not find a place in Lu alongside the Qi entertainers, he withdrew to correct music and guide the age, and composed five chapters to censure the times; still, none were transformed. It declined through the Six States, sinking into dissipation and never returning, until at last men destroyed themselves and their lineages, and the states were absorbed into Qin.
3
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 Er Shi took special delight in it. Chancellor Li Si advanced a remonstrance saying: “Abandoning poetry and books, exhausting one's intention on sounds and colors—this is what Zu Yi feared. Lightly accumulating small faults, indulging the heart in long nights—this is why Zhou perished.” Zhao Gao said: “The music of the Five Emperors and the Three Kings each had different names, showing that none merely copied another. From the court above down to the people below, they could connect in happiness and joy and unite in diligence and care. Without this, harmonious persuasion would not get through, and generous favor would not flow. Each age has its own transformation and timely music. Why must it be the piebald horses of Mount Hua before one can travel far?” Er Shi approved of this.
4
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。
When Gaozu passed through Pei, he recited the chapters of the Three Hou and commanded children to sing them. When Gaozu passed away, he ordered that Pei could perform songs and dances in the ancestral temple in each of the four seasons. Xiaohui, Xiaowen, and Xiaojing made no additions or changes; at the Music Bureau they only practiced the constant and reviewed the old.
5
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。
Until the present emperor ascended the throne, he made nineteen chapters, commanded the palace attendant Li Yan Nian to sequence their sounds, and appointed him as Harmonious Music Commandant. Scholars who master one classic cannot alone know their words; all gather the Five Classics scholars, mutually lecture, practice, and read them together; only then can they fully understand their meaning—many refined and elegant writings.
6
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 house constantly, in the first month on the first xin day, sacrificed to Tai Yi at Gan Quan, using dusk time for the night sacrifice, reaching dawn and ending. Shooting stars often passed over the sacrificial altar. He made young boys and young girls—seventy people in all—sing together. In the spring they sang Qing Yang; in the summer they sang Zhu Ming; in the autumn they sang Xi Huang; in the winter they sang Xuan Ming. The world has many such, therefore they are not discussed.
7
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。」
Later he again obtained divine horses at the Wowa waters and composed a Taiyi song about them. The song and lyrics say: “Tai Yi contributes, the heavenly horse descends; moistened with red sweat, foam flows crimson. Galloping at ease, traversing ten thousand li; now what match has it, with the dragon as friend.” Later he attacked Dayuan and obtained horses that could travel a thousand li; one horse was named Pushao, and he composed another song about it. The song and poem say: “The heavenly horse comes from the western extreme; traverses ten thousand li and returns to one with virtue. Receives spiritual might, descends to foreign countries; crosses flowing sands, the four barbarians submit.” The Commandant Ji An advanced and said: “All kings who make music do so above to receive the ancestors, below to transform the myriad people. Now Your Majesty obtains horses, makes poems into songs, and performs them in the ancestral temple; how could the former emperors and the people know their sounds?” The emperor said nothing and was displeased. Chancellor Gongsun Hong said: “Ji An is slandering the sacred institutions; he should be executed along with his clan.”
8
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 sounds that arise are born from the human heart. The movement of the human heart is made thus by things. Moved by things and thus moved, it therefore takes form in sound. Sounds respond to each other, therefore giving rise to change. When change becomes regular, this is called sound. To compare sounds and take joy in them, together with the gan, qi, yu, and mao—this is called music. Music is that from which sound is born; its root is in the human heart being moved by things. Therefore, those whose sorrowful heart is moved have sounds that are anxious and subdued. Those whose joyful heart is moved have sounds that are harmonious and gentle. Those whose happy heart is moved have sounds that are open and dispersed. Those whose angry heart is moved have sounds that are coarse and harsh. Those whose respectful heart is moved have sounds that are straight and upright. Those whose loving heart is moved have sounds that are harmonious and soft. These six are not nature; they are moved by things and only then act. Therefore, the former kings were careful about what moves them. Therefore, the ritual guides their will; the music harmonizes their sound; the governance unites their conduct; the punishment prevents their wickedness. Ritual, music, punishment, and governance—their ultimate goal is one: to unify the people's hearts and bring forth the way of governance.
9
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 is born from the human heart. The emotions move within, therefore taking form in sound; when the sound becomes patterned, it is called tone. Therefore, the sound of an orderly age is peaceful and joyful; its correctness is harmonious. The sound of a chaotic age is resentful and angry; its correctness is perverse. The sound of a perishing state is sorrowful and longing; its people are distressed. The way of sound and tone accords with correctness. Gong represents the ruler; shang, the ministers; jue, the people; zhi, affairs; yu, material things. If these five are not disordered, there will be no mournful or constricted sounds. If gong is disordered, it becomes wild, and its ruler is arrogant. If shang is disordered, it becomes harsh, and its ministers are ruined. If jue is disordered, it becomes anxious, and its people are resentful. If zhi is disordered, it becomes sorrowful, and its affairs become burdensome. If yu is disordered, it becomes perilous, and its wealth is depleted. If all five are disordered and encroach upon one another, this is called laxity. In this way, the state's destruction has no day left. The sounds of Zheng and Wei are the sounds of a disordered age, akin to laxity. The sounds of Sang Jian and Pu Shang are the sounds of a perishing state: its governance is scattered, its people are drifting away, and deceiving superiors and pursuing selfishness have become impossible to stop.
10
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 is that which is born from the human heart. Music is what gives expression to proper human relationships. Therefore, those who know sound but do not know tone are birds and beasts. The common people may know tones, but they do not understand music. Only the gentleman is able to understand music. Therefore, examine sound to know tone; examine tone to know music; examine music to know governance; and the way of governance is complete. Therefore, those who do not know the sound cannot speak of the tone with them; those who do not know the tone cannot speak of the music with them; knowing the music then approaches the ritual. When ritual and music are both mastered, this is called possessing virtue. Virtue is obtaining. Therefore, music's flourishing is not the extreme of sound. The rituals of feasting are not about the finest flavors. The qing temple's se, with crimson strings and sparse bridges, one leads and three sigh—there are lingering tones. The great feast ritual honors dark wine and platters of raw fish, great broth unmixed—there are lingering flavors. Therefore, the former kings' establishment of ritual and music was not to satisfy the desires of mouth, belly, ear, and eye, but to teach the people to balance likes and dislikes and return to the correctness of the human way.
11
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。
Humans are born quiet; it is heaven's nature. Being moved by things and acting is nature's expression. Things arrive and knowledge knows them, then likes and dislikes take form. The likes and dislikes without measure within, the knowledge seduced by externals, cannot return to self—the heavenly principle is extinguished. Indeed, the things moving people is endless, and the humans likes and dislikes are without measure; then things arrive and humans transform into things. Humans transforming into things is extinguishing the heavenly principle and exhausting human desires. From this arise hearts of perversity, deceit, and falsity, and matters of licentiousness, dissipation, rebellion, and disorder. Therefore, the strong coerce the weak; the many tyrannize the few; the knowledgeable deceive the ignorant; the brave torment the cowardly; the sick and disabled are not nurtured; the old, young, orphans, and widows do not get their proper place—this is the way of great chaos. Therefore, the former kings established ritual and music, humans made measures for them: mourning garments, weeping, crying—these regulate mourning rites. Bells, drums, shields, and axes—these harmonize peaceful joy. Marriage, capping, and hair-pinning—these distinguish male and female. Archery, neighborhood meetings, and feasts—these correct social interactions. Ritual regulates the people's hearts; music harmonizes the people's voices; governance implements them; punishment prevents them. Ritual, music, punishment, and governance reach in all four directions without contradiction, then the kingly way is complete.
12
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 is for sameness; ritual is for difference. Sameness then mutually intimate; difference then mutually respectful. If music prevails, then it becomes licentious; if ritual prevails, then it becomes distant. Harmonizing feelings and refining outward forms is the work of ritual and music. If ritual and righteousness are established, then noble and base are equalized. If music's patterns are unified, then superiors and inferiors are harmonious. If likes and dislikes are manifest, then worthy and unworthy are distinguished. Punishment restrains violence; rank raises the worthy; then governance is even. Benevolence loves them; righteousness corrects them; thus then the popular governance proceeds.
13
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 emerges from within; ritual is made from without. Music emerges from within, therefore tranquil. Ritual is made from without, therefore patterned. Great music must be easy; great ritual must be simple. When music arrives then no resentment; when ritual arrives then no contention. To govern the realm through yielding and deference is what is meant by ritual and music. Violent people do not arise; feudal lords submit as guests; weapons are not tested; five punishments are not used; the people have no troubles; the Son of Heaven is not angry; thus then music is achieved. Unite father-son intimacy; clarify elder-younger sequence; to respect within the four seas. When the Son of Heaven acts in this way, ritual is carried out.
14
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 great music is harmonious with heaven and earth; the great ritual is measured with heaven and earth. Harmonious, therefore the hundred things are not lost. Measured, therefore sacrifice to heaven and earth. In brightness there are ritual and music; in darkness there are ghosts and spirits; thus then within the four seas united respect and same love. Ritual is that which in different matters unites respect. Music uses differing patterns to bring affections together. Ritual and music's essence is the same; therefore enlightened kings have followed each other. Therefore, affairs run parallel with time; names accompany merit. Therefore, bells, drums, pipes, chimes, feather flutes, shield-axes are music's instruments. Bending and extending, bowing and raising, steps and gestures, slow and rapid movements: these are the patterns of music. Gui, yi, zu, dou institutions and patterns are ritual's instruments. Ascending and descending, moving above and below, circling and turning, uncovering and covering: these are the patterns of ritual. Therefore, those who know the ritual and music essence can create; those who recognize the ritual and music patterns can explain. Creators are called sages; explainers are called enlightened. To understand these principles and create from them is what is called enlightenment and sagehood.
15
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 heaven and earth's harmony. Ritual is heaven and earth's order. Harmonious, therefore the hundred things all transform. Ordered, therefore the grouped things all distinguish. Music is made by heaven; ritual is formulated by earth. Exceeding formulation then chaotic; exceeding making then tyrannical. Only after one understands Heaven and Earth can one make ritual and music flourish. Discussing relationships without trouble is music's essence. Joyful delight and love are music's appearance. Central and upright without deviance is ritual's substance. Solemn, respectful, reverent, obedient are ritual's formulation. As for applying ritual and music to bells and stone chimes, carrying them through sounds and tones, using them in ancestral temples and altars of soil and grain, and serving mountains, rivers, spirits, and ghosts with them: these are the ways they are shared with the people.
16
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。
Kings accomplish merit and make music; they govern and establish ritual. Those whose merit is great have the complete music; those whose governance is clear have the complete ritual. Shield-axe dancing is not complete music. To offer cooked food and perform sacrifices is not, by itself, to comprehend ritual. The Five Emperors had different times and did not follow each other's music. The Three Kings had different ages and did not copy each other's ritual. Music to the extreme then sorrowful; ritual coarse then partial. As for those who cultivate music without sorrow and complete ritual without partiality, is it not only the great sages? Heaven is high and earth is low; the ten thousand things are scattered and different, and ritual regulation proceeds. As this flow continues without ceasing, things unite and transform, and music arises. Spring creates and summer grows—this is benevolence. Autumn gathers and winter stores—this is righteousness. Benevolence approaches music; righteousness approaches ritual. Music cultivates harmony; it leads the spirits and follows heaven. Ritual distinguishes appropriateness; it resides with ghosts and follows earth. Therefore, sages make music to respond to heaven and make ritual to match earth. Ritual and music clearly complete—heaven and earth are governed.
17
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 and earth is humble—ruler and minister are established. High and low are already arrayed; noble and base are positioned. Movement and stillness have constancy; small and great differ. Directions gather by kind and things divide by group; then the natures and destinies differ. In heaven, it forms images; on earth, it forms shapes. Thus, ritual is the distinction between Heaven and Earth. Earth qi ascends and heaven qi descends; yin and yang rub against each other; heaven and earth shake each other. They drum with thunder; arouse with wind and rain; move with the four seasons; warm with sun and moon. And the hundred things' transformations arise. Thus, music is heaven and earth's harmony.
18
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 is not in season, then it does not give birth; if male and female have no distinction, then chaotic union occurs. This is the heaven and earths nature. As for ritual and music reaching heaven and coiling on earth, proceeding through yin and yang and communicating with ghosts and spirits, exhausting height and extreme distance and measuring depth and thickness: music attaches to the great beginning and ritual resides in completed things. What attaches without ceasing is heaven; what attaches without moving is earth. One movement, one stillness—this is heaven and earth's between. Therefore, the sage said: “Ritual says, music says.”
19
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 former times, Shun made a five-stringed zither to sing of the Southern Wind. Kui began making music to reward the feudal lords. Therefore, when the Son of Heaven creates music, it is to reward feudal lords who possess virtue. When virtue flourishes and teaching is honored, and the five grains ripen in season, then music is the proper reward. Therefore, those who govern the people with diligence have their dance formations stretched far apart. Those who govern the people with ease have their dance formations compact. Therefore, observe the dance and know the virtue; hear the posthumous name and know the conduct. Da Zhang is its manifestation. Xian Chi is its completeness. Shao carries it on. Xia makes it grand. The music of Yin and Zhou exhausts it.
20
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 is this: if cold and heat are out of season, illness results; if wind and rain are not measured, famine results. Teaching is the people's cold and heat; if teaching is not timely, it harms the age. Affairs are the people's wind and rain; if affairs are not measured, there is no success. Thus, when the former kings made music, they governed by means of law; when goodness appeared, conduct followed virtue. Indeed, raising pigs for wine is not to create calamity. But if lawsuits become increasingly numerous, then wine's indulgence gives birth to calamity. Therefore, the former kings established the wine rite with a single offering, in which guest and host exchanged a hundred bows and drank all day without becoming drunk. That was how they guarded against the harm of wine. Therefore, wine and food serve to join people in rejoicing.
21
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 what embodies virtue. Ritual is that which closes licentiousness. Therefore, whenever the former kings had a great matter, they necessarily used ritual to express sorrow. When they had great blessings, they necessarily used ritual to express joy; the distinction between sorrow and joy all ends in ritual.
22
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 giving. Ritual is repayment. Music delights in what gives it birth. Ritual returns to where it began. Music manifests virtue; ritual answers feeling and returns to the beginning. What is called the great chariot is the Son of Heaven's carriage. Dragon banner with nine streamers is the Son of Heaven's standard. The blue-black bordered one is the Son of Heaven's preserved turtle. Followed by herds of cattle and sheep, then this is what gifts to the feudal lords.
23
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 emotion that cannot be changed. Ritual is principle that cannot be altered. Music unifies what is the same; ritual distinguishes what is different. Ritual and music's doctrine penetrates human emotion. Exhausting the root and knowing change is music's essence. Manifesting sincerity and removing falsity is ritual's canon. Ritual and music follow heaven and earth's sincerity, reach the spirits' virtue, lower and raise the upper and lower spirits, solidify this refined and coarse body, and lead father-son ruler-minister relations.
24
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 great men raise ritual and music, the heaven and earth will be enlightened. The heaven and earth joyfully unite; yin and yang mutually obtain. They warm and nourish all things. Then grasses and trees flourish; sprouts reach; winged ones soar; horned ones grow; hibernating insects become lively. Feathered ones brood and nest; furred ones conceive and give birth. Viviparous do not miscarry and oviparous do not break. Then music way returns there.
25
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 yellow bells, great lüs, string songs, or shield axes. These are the music final sections; therefore children dance them. Spreading mats and seats, arranging goblets and stands, arranging baskets and bowls, taking ascending and descending as ritual—these are the ritual final sections; therefore officials manage them. Music masters distinguish sound and poetry; therefore they face north and play strings. Ancestral invokers distinguish ancestral temple ritual; therefore they follow the corpse. Funeral invokers distinguish funeral ritual; therefore they follow the host. Therefore, virtue completes and ascends; arts complete and descend. Conduct completes and comes first; affairs complete and come later. Therefore, the former kings had upper and lower, first and last; then they could have regulation over the world.
26
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 take joy in, and it can improve the people's hearts. Its moving people is deep; its wind shifts customs easily. Therefore, the former kings established their teachings.
27
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。
Indeed, humans have the nature of blood, qi, heart, and knowledge, but no constant of sorrow, joy, delight, or anger. Responding to sensations arising from things and moving, then the methods of the heart take form. Therefore, when sounds of subtle, anxious, and declining arise, the people think sorrow. When sounds of harmonious, gentle, slow, easy, ornate patterns, and simple sections arise, the people are peaceful and joyful. When sounds of coarse, harsh, fierce, rising, aroused endings, and broad splendor arise, the people are firm and resolute. When sounds of upright, straight, canonical, correct, solemn, and sincere arise, the people are solemn and respectful. When sounds of generous, ample, fleshy, good, orderly, accomplished, harmonious, and moving arise, the people are benevolent and loving. When sounds of licentious, deviant, heretical, dispersed, barbaric, accomplished, washed, and overflowing arise, the people are licentious and chaotic.
28
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, the former kings based them on emotional nature, checked them against measures and numbers, controlled them with ritual and righteousness, united the living qi harmony, and guided the five constants' conduct. They made them yang but not scattered, yin but not secretive, strong qi not angry, soft qi not frightened. The four flows intersect in the center and erupt outside. All settle in their positions and do not mutually usurp. Then they established the learning ranks, broadened the rhythms, simplified the patterns and colors, to bind virtue thickly. They categorized the small and great appellations, compared the beginning and end sequences, to imitate affairs and conduct. They made the close and distant, noble and base, elder and young, male and female principles all visibly appear in music. Thus, the saying goes: “When one observes music, one sees its depth.”
29
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 soil is exhausted, then grasses and trees do not grow. When water is troubled, then fish and turtles do not grow large. When qi declines, then living things are not nurtured. When the age is chaotic, then ritual is abandoned and music becomes licentious. Therefore, its sound is sorrowful but not solemn, joyful but not peaceful, lax and careless, violating measure, licentious and dissipated, forgetting the root. Broadness then accommodates wickedness. Narrowness turns to desire, stirs dissipating and scattering qi, and extinguishes peaceful virtue. Therefore, the gentleman despises it.
30
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。
All wicked sounds move people, and perverse qi responds to them; perverse qi then takes shape, and licentious music arises. Correct sounds move people, and compliant qi responds to them; compliant qi then takes shape, and harmonious music arises. Leading and following answer one another; the deviant, the curved, and the straight each return to their proper place. The principle of the ten thousand things is that kinds move one another by affinity.
31
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, the gentleman returns to feeling in order to harmonize intention, and classifies things by kind in order to complete conduct. Wicked sounds and chaotic colors do not detain the mind; licentious music abandons ritual and does not reach the mind's ordering; slothful, lax, heretical, and deviant qi is not allowed into the body. Let the ears, eyes, nose, mouth, mind, and whole body all follow orderly correctness, and thereby carry out their righteousness. Then express it in sound and tone, pattern it with the zither and se, move it with shield and axe, adorn it with feather banners, and accompany it with flute and pipes. Thus, the radiance of supreme virtue is aroused, the harmony of the four qi is set in motion, and the principle of the ten thousand things is made manifest. Therefore, brightness and clarity imitate heaven; vastness imitates earth; beginning and end imitate the four seasons; and circling imitates wind and rain. The five colors form patterns without disorder; the eight winds follow the pitch-laws without corruption; the hundred measures obtain their numbers and remain constant. Small and great complete one another; beginning and end give birth to one another; leading and following, clear and turbid, alternate and become the canon. Therefore, when music is put into practice, relations are clarified, the ears and eyes are sharpened, the blood and qi are at peace, customs are transformed, and the realm is tranquil. Thus, the saying goes: “Music is joy.” The gentleman delights in obtaining the Way; the small man delights in obtaining his desires. If one uses the Way to control desire, one is joyful but not disordered. If one uses desire to forget the Way, one becomes deluded and no longer joyful. Therefore, the gentleman returns to feeling to harmonize intention, and broadens music to complete teaching. When music is put into practice and the people turn toward what is right, virtue can be observed.
32
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 foremost expression of inborn nature. Music is the splendor of virtue. Metal, stone, silk, and bamboo are the instruments of music. Poetry gives voice to its intention. Song prolongs its sound. Dance moves its form. These three arise from the heart, and then music qi follows them. Therefore, when feeling is deep and pattern is bright, when qi is abundant and transforms into spirit, and when harmony and compliance accumulate within while splendor radiates outward, only music cannot be falsified.
33
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 image of music. Pattern, coloration, and rhythm are the adornments of sound. The gentleman moves at the root and takes joy in the image; only then does he regulate the adornments. Therefore, first drum to warn and alert; then step three paces to show the square; then begin again to show what goes forth; and then restore disorder to arrange the return. It is aroused swiftly but not uprooted, and goes to the utmost depth without being hidden. One takes joy in its intention alone and is never sated with its Way. Fully raise up its Way; do not make its desires private. Therefore, emotion appears and righteousness is established; music ends and virtue is honored. Gentlemen use it to love goodness; small people use it to rest from faults. Thus, the saying goes: “The way of nurturing the people—music is greatest.”
34
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」。
The gentleman says: “Ritual and music cannot be separated from the body for a moment.” Apply music to govern the heart, then easy, upright, filial, sincere hearts naturally arise. The easy, upright, filial, sincere hearts arise then joyful; joyful then peaceful; peaceful then lasting; lasting then heavenly; heavenly then spiritual. Heavenly then speaks not but is trusted; spiritual then angers not but is awesome. Apply music is to govern the heart. Apply ritual is to govern the person. Govern the person then solemn and respectful; solemn and respectful then stern and awesome. In the heart, for a moment not harmonious and not joyful, vulgar and deceitful hearts enter it. External appearance for a moment not solemn and not respectful, and lax, easy hearts enter it. Therefore, music is that which moves within. Ritual is that which moves without. Music reaches harmony; ritual reaches obedience. Internally harmonious and externally obedient, then the people gaze at their complexion and do not contend with them; look at their appearance and the people do not give rise to easy laxity. The radiance of virtue moves within, and the people all receive and listen; principle manifests without, and the people all receive and follow. Thus, the saying goes: “Know the Way of ritual and music, raise it up and set it in the world, and there will be no difficulty.”
35
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 is that which moves within. Ritual is that which moves without. Therefore, ritual masters its modesty; music masters its fullness. Ritual modest and advances; takes advancing as pattern. When music reaches fullness and returns, it takes return as its pattern. Ritual modest but does not advance, then diminishes. When music reaches fullness but does not return, it becomes dissolute. Therefore, ritual has reciprocal response, and music has return. Ritual obtains its repayment then joyful; music obtains its return then peaceful. Ritual's repayment, music's return—their meaning is one.
36
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。
Indeed, music is joy—that which human emotion cannot avoid. Music must express through sound and tone, take form in movement and stillness—this is the human way. Sound and tone, movement and stillness—nature and method's changes are exhausted here. Therefore, humans cannot lack music; music cannot lack form. Form but not guided by the way cannot lack chaos. The former kings hated its chaos, therefore established the sounds of ya and song to guide it. They made their sound sufficient for joy but not licentious; made their patterns sufficient to bind but not weary; made their curved, straight, ornate, simple, upright, fleshy rhythms sufficient to move people's good hearts only. They did not let dissolute, heretical qi connect there. This is the former kings' establishment of music's method. Therefore, music within the ancestral temple—ruler and ministers, superiors and inferiors together listen to it—then none are not harmonious and respectful. Within the clan leaders' neighborhood—elders and young together listen to it—then none are not harmonious and obedient. Within the inner chambers—father, son, brothers together listen to it—then none are not harmonious and intimate. Therefore, music: examines unity to establish harmony; compares things to adorn measure; rhythms combine to form patterns. Thus, it unites and harmonizes father-son, ruler-minister; attaches and intimates the myriad people. This is the former kings' establishment of music's method. Therefore, listening to the sounds of ya and song, will and intention become broad. Grasping the shield-axes, practicing their bowing, raising, bending, extending—their appearance becomes solemn. Following the connected signs, grasping their rhythms—the ranks and files become correct; the advance and retreat become orderly. Thus, music is the harmony of Heaven and Earth, the guiding thread of balance and concord, and something human feelings cannot do without.
37
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 was how the former kings gave form to joy; Armies and axes were what the former kings used to adorn anger. Thus, the joy and anger of the former kings each attained proper balance. When they rejoiced, the realm harmonized with them; when they were angry, the violent and disorderly stood in fear. The former kings' Way of ritual and music may truly be called flourishing.
38
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？」
Marquis Wen of Wei asked Zixia: “When I sit solemnly in cap and robes to hear the ancient music, I am afraid only of falling asleep. But when I hear the music of Zheng and Wei, I never grow tired. Dare I ask why ancient music is like that? Why is new music like this?”
39
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。」
Zixia replied: “Now, in ancient music, they advance in ranks and withdraw in ranks; it is harmonious, correct, and broad. Strings, gourds, sheng mouth-organs, and reeds join together, keeping time with the hand-drum and drum. It begins its performance with civil forms, brings disorder to a stop with martial forms, orders disorder with the xiang, and drives urgency with ya music. Through it, the gentleman speaks, tells of antiquity, cultivates himself, extends that cultivation to his household, and brings the realm into balance. This is how ancient music expresses itself. In the new music, performers bend forward as they advance and bend forward as they withdraw; corrupt sounds become licentious and drown the listener without end. Actors and dwarfs appear, men and women mingle in confusion, and the distinction between father and son is no longer known. When the music ends, one cannot speak through it or tell of antiquity through it. This is how the new music expresses itself. What my lord asks about is music, but what he delights in is mere sound. Music and mere sound are near to each other, but they are not the same.”
40
文侯曰：「敢問如何？」
Duke Wen said, “Dare I ask how?”
41
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。 《詩》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？」
Zixia replied: “In antiquity, Heaven was in accord with Earth, and the four seasons came at the proper times; the people possessed virtue and the five grains flourished; illnesses did not arise and there were no baleful omens. This is called great accord. Only afterward did the sages establish father and son, ruler and minister, and make these the guiding bonds. Once the guiding bonds were correct, the realm was greatly settled. Once the realm was greatly settled, they corrected the six pitch-pipes, harmonized the five tones, set strings to music, and sang the poems and hymns. This is called the sound of virtue; the sound of virtue is called music. The Odes say: ‘None can match his virtuous fame; his virtue is bright, discerning, enduring, and fit to rule. Ruling this great state, he is able to accord with others and assist them. He assists King Wen, and there is no flaw in his virtue. Having received Heaven’s blessing, he passes it on to sons and grandsons. This is what it means. Now what my lord likes—is it dissipated music?”
42
文侯曰：「敢問溺音者何從出也？」
Marquis Wen said, “May I ask where dissipated music comes from?”
43
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。 《詩》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。 《詩》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。」
Zixia replied: “The music of Zheng delights in excess and corrupts the will; the music of Song is indolent and sensual, drowning the will; the music of Wei is hurried and crowded, troubling the will; the music of Qi is arrogant and perverse, making the will proud. All four are licentious in sensuality and harmful to virtue, and for this reason they are not used in sacrifices. The Odes say, ‘Solemn and harmonious, they sound together, and the ancestors listen. Solemnity means reverence; Harmony means concord. With reverence joined to harmony, what affair could fail to proceed? A ruler need only take care over what he loves and what he hates. What the ruler loves, the ministers will practice; what those above do, the people will follow. The Odes say, ‘Guiding the people is very easy.’ This is the meaning. After this, the sages made the small drum, the wooden percussion instruments, the xun ocarina, and the chi flute; these six instruments produced the sounds of virtuous music. Then bells, stone chimes, yu pipes, and zithers harmonized them, while shields, axes, feather banners, and Di plumes accompanied them in dance. These were used to sacrifice in the temples of the former kings; to present offerings, responses, toasts, and return cups; to let offices and ranks, noble and lowly, each find their proper place; and to show later generations the order of high and low, elder and younger. The bell’s sound is resonant; from resonance comes command, from command comes firmness, and from firmness comes martial force. When a gentleman hears bells, he thinks of martial ministers. The stone chime’s sound is clear; from clarity come distinctions, and from distinctions comes readiness to die. When a gentleman hears stone chimes, he thinks of ministers who die defending the borders. The sound of strings is sorrowful; sorrow gives rise to incorruptibility, and incorruptibility gives rise to resolve. When a gentleman hears the qin and se zithers, he thinks of ministers firm in purpose and righteousness. The sound of bamboo is broad and overflowing; from that breadth comes assembly, and assembly gathers the multitude. When the gentleman hears the sound of yu pipes, sheng mouth-organs, xiao flutes, and panpipes, he thinks of ministers who gather and sustain the people. The sound of drums is rousing; rousing gives rise to movement, and movement advances the multitude. When the gentleman hears the sound of drums, he thinks of ministers who serve as generals and commanders. When a gentleman listens to music, he is not simply listening to its ringing tones; he also joins them to what they signify.”
44
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 on Confucius. As Confucius spoke with him, the discussion turned to music, and he said: “In the Wu dance, why does the preparation and alertness last so long?”
45
答曰：「病不得其眾也。」
He replied: “It is troubled because it has not yet gathered its multitude.”
46
「永嘆之，淫液之，何也？」
“Why does it draw out its sighing and flow on so expansively?”
47
答曰：「恐不逮事也。」
He replied: “It fears it will not accomplish the affair in time.”
48
「發揚蹈厲之已蚤，何也？」
“Why do the vigorous stamping and fierce movements appear so early?”
49
答曰：「及時事也。」
He replied: “They are meant to accomplish the affair at the proper time.”
50
「武坐致右憲左，何也？」
“In Wu, why do the dancers sit with the right leg forward and the left leg back?”
51
答曰：「非武坐也。」
He replied: “That is not the sitting posture proper to Wu.”
52
「聲淫及商，何也？」
“Why does the sound become excessive and rise to the Shang mode?”
53
答曰：「非武音也。」
He replied: “That is not the sound proper to Wu.”
54
子曰：「若非武音，則何音也？」
The Master said: “If this is not the sound of Wu, then what sound could it be?”
55
答曰：「有司失其傳也。 如非有司失其傳，則武王之志荒矣。」
He replied: “The officials in charge have lost the transmission. If they had not lost it, then King Wu’s intent would have been reckless.”
56
子曰：「唯丘之聞諸萇弘，亦若吾子之言是也。」
The Master said: “What I heard from Chang Hong agrees exactly with what you have said.”
57
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, stepped away from his mat, and asked: “I have now received your instruction about why the preparation and alertness of Wu lasts so long. May I ask why its delay is so slow and prolonged?”
58
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？」
The Master said: “Sit, and I will tell you. Music represents the completion of an undertaking. Holding the shield and standing like a mountain represents King Wu’s enterprise; The vigorous stamping and fierce movements represent the Grand Duke’s resolve; When the disorder of Wu is over and all sit, this represents the governance of the Duke of Zhou and the Duke of Shao. As for Wu, in the first section they go north; in the second they destroy Shang; in the third they go south; in the fourth they secure the southern states; in the fifth they divide the land at Shan, with the Duke of Zhou on the left and the Duke of Shao on the right; in the sixth they return to their ranks to exalt the Son of Heaven. Flanking him, they shake their weapons and strike in the four directions, displaying majesty throughout the Central States. They divide, flank, and advance because the undertaking was completed quickly. They remain standing in their ranks for a long time, waiting for the feudal lords to arrive. Have you not heard the account of Muye? When King Wu conquered Yin and returned from Shang, before he had even stepped down from his chariot he enfeoffed the descendants of the Yellow Emperor at Ji, the descendants of Emperor Yao at Zhu, and the descendants of Emperor Shun at Chen; After descending from his chariot, he enfeoffed the descendants of the Xiahou clan at Qi and the descendants of Yin at Song, honored the tomb of Prince Bigan, released Jizi from imprisonment, and sent men to visit Shang Rong and restore him to his position. He eased government burdens on the common people and doubled the stipends of the lower officers. After crossing the Yellow River westward, he released the horses on the southern slope of Mount Hua and never mounted them again; He released the oxen in the fields of Taolin and never yoked them again; He covered the chariots and armor and stored them in the arsenals, never using them again; He loaded the shields and spears upside down and wrapped them in tiger skins; He made the commanders and officers into feudal lords and called this “building the bow-cases.” Only then did the realm know that King Wu would not use arms again. He disbanded the army and held archery in the suburbs: on the left they shot to “Lishou,” and on the right to “Zouyu,” and the practice of shooting through leather targets ceased; They wore ceremonial caps and inserted tablets in their belts, and the tiger-warriors put away their swords; He sacrificed in the Bright Hall, and the people learned filial piety; He held court audiences, and afterward the feudal lords learned how to serve as ministers; He performed the ceremonial plowing, and afterward the feudal lords learned reverence. These five were the great teachings of the realm. He fed the Three Elders and Five Seniors in the Grand Academy. The Son of Heaven bared his arm to cut the sacrificial animal, held the sauce to serve them, held the cup to offer the rinse wine, and, wearing his cap, grasped the shield and axe. This was how he taught the feudal lords fraternal respect. In this way, the Way of Zhou reached in all four directions and rites and music moved freely. Was it not fitting, then, that Wu was so slow and prolonged?”
59
子貢見師乙而問焉，曰：「賜聞聲歌各有宜也，如賜者宜何歌也？」
Zigong went to see Master Yi and asked him: “I have heard that each voice and song has something suited to it. For someone like me, what song would be appropriate?”
60
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。
Master Yi said: “I am a humble musician. How could I be worthy to answer what is fitting? Let me recite what I have heard, and you may decide for yourself. Those who are generous and calm, gentle and upright should sing the Odes. Those who are broad and calm, open and trustworthy should sing the Greater Odes. Those who are reverent, frugal, and fond of ritual should sing the Lesser Odes. Those who are upright and pure and modest should sing the Airs. Those who are open and benevolent should sing the Shang. Those who are gentle and decisive should sing the Qi. Indeed, singers express themselves and display virtue. When one moves oneself, heaven and earth respond; the four seasons harmonize; the stars are orderly; and the ten thousand things are nurtured. Therefore, Shang is a remaining sound of the Five Emperors. The Shang people cherished it, and so it is called Shang. Qi is a remaining sound of the Three Dynasties. The Qi people cherished it, and so it is called Qi. Those who understand Shang's poetry face affairs and can make repeated decisions. Those who understand Qi's poetry see profit and can yield. Facing affairs and repeatedly deciding is courage. Seeing profit and yielding is righteousness. Having courage and righteousness, what but song can preserve this? Therefore, song rises like resistance, falls like submission, bends like breaking, stops like withered wood, sits in the center like a square, turns in hooks, and strings itself densely like pearls. Therefore, song, in being called yan, is simply yan drawn out. Because it is pleased, it speaks. Speaking is insufficient, so it is lengthened. Lengthened speaking is still insufficient, so it sighs. Sighing is still insufficient, so the hands dance and the feet tread it.” Zi Gong asked about music.
61
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 sound arises from the human heart. Heaven and humanity have a means of mutual communication, like a shadow following form or an echo answering sound. Therefore, heaven repays those who do good with blessings and sends calamity to those who do evil. That is how it naturally works.
62
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。
Therefore, Shun played the five-stringed zither and sang the Southern Wind poem, and the realm was brought into order. Zhou took pleasure in the sounds of Zhao Ge and the northern rustic style; he died and his state perished. How broad was Shun's Way! How narrow was Zhou's Way! The Southern Wind poem is the sound of growth. Shun loved it; his joy aligned with heaven and earth's intent, and he won the hearts of the ten thousand states. Therefore, the realm was brought into order. Zhao Ge is unseasonable; the northern style is ruinous; the rustic style is vulgar. Zhou loved it; his heart was at odds with the ten thousand states; the feudal lords did not attach themselves to him, the common people were not close to him, and the realm rebelled against him. Therefore, he died and his state perished.
63
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。
And during Duke Ling of Wei's time, when leading to Jin, they reached the Pu River and lodged above it. At midnight, he heard the sound of a zither. He asked his attendants on either side, and they all replied, “We did not hear it?” Then he summoned Master Juan, saying: “I heard the sound of a zither. I asked my attendants, and they all did not hear it. It sounds as though it comes from ghosts and spirits. Listen and transcribe it for me.” Master Juan said: “Yes.” Then he sat properly, took up the zither, listened, and transcribed it. The next day he said: “Your servant has learned it, but has not yet practiced it. Please allow me to practice it overnight.” Duke Ling said: “Very well.” Then they lodged again. The next day, he reported, saying: “I have practiced it.” Then he went to Jin and saw Duke Ping of Jin. Duke Ping set out wine at the Shi Hui terrace. When the wine was flowing, Duke Ling said: “Since I have come, I have heard a new sound. Please play it.” Duke Ping said: “Very well.” Then he commanded Master Juan to sit beside Master Kuang, took up the zither and played it. Not yet finished, Master Kuang patted it and stopped him, saying: “This is the sound of a perished state. It cannot continue.” Duke Ping said: “From what way does it come?” Master Kuang said: “Shi Yan made it. He made decadent music with Zhou. King Wu attacked Zhou; Shi Yan fled east and threw himself into the midst of the Pu Water. Therefore, hearing this sound must be above the Pu Water; the first to hear this sound, his state will be reduced.” Duke Ping said: “What I like is the sound; I wish to continue hearing it.” Master Juan played it and finished it.
64
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?” Master Kuang said: “There is.” Duke Ping said: “Can one hear it?” Master Kuang said: “Your virtue and righteousness are slight; you cannot listen to it.” Duke Ping said: “What I like is the sound; I wish to hear it?” Master Kuang had no choice; he took up the zither and played it. When he played it once, sixteen dark cranes gathered at the corridor gate. When he played it twice, they stretched their necks and called, spread their wings and danced.
65
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; he rose and toasted Master Kuang. He returned to his seat and asked, saying: “Is there no sound more sorrowful than this?” Master Kuang said: “There is. Formerly the Yellow Emperor used it to assemble ghosts and spirits on a great scale. Now your virtue and righteousness are slight; you are not sufficient to listen to it. If you listen, you will be ruined.” Duke Ping said: “I am old; what I like is the sound. I wish to continue hearing it.” Master Kuang had no choice; he took up the zither and played it. When he played it once, white clouds rose from the northwest. When he played it twice, a great wind arrived and rain followed it; corridor tiles flew; left and right all fled running. Duke Ping was fearful and prostrated himself between the corridor and house. The state of Jin suffered a great drought; the earth was bare and red for three years.
66
聽者或吉或凶。 夫樂不可妄興也。
For listeners, sometimes it is auspicious, sometimes inauspicious. Indeed, music cannot recklessly arise.
67
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。
The Grand Historian says: Indeed, the high ancient enlightened kings raised music, not to amuse the heart and self-amuse, satisfy intention and indulge desires, but wished to govern. Correct teachings all begin from sound; when sound is correct, conduct is correct. Therefore, music is that which moves and shakes the blood vessels, flows through the spirit, and harmonizes and corrects the heart. Therefore, gong moves the spleen and harmonizes and corrects sagehood; shang moves the lung and harmonizes and corrects righteousness; jue moves the liver and harmonizes and corrects benevolence; zhi moves the heart and harmonizes and corrects ritual; yu moves the kidney and harmonizes and corrects wisdom. Therefore, music internally assists the correct heart and externally distinguishes noble and base. Above it serves the ancestral temples; below it transforms the black-haired people. The zither is eight chi and one cun in length—this is the correct measure. The largest string is gong, and it dwells in the center; this is the ruler. Shang stretches to the right side; the remaining large and small follow one another without losing sequence. Then the positions of ruler and minister are correct. Therefore, hearing the gong sound makes people warm, relaxed, expansive, and generous. Hearing the shang sound makes people upright and loving of righteousness. Hearing the jiao tone makes people compassionate and loving toward others. Hearing the zhi tone makes people delight in goodness and enjoy giving. Hearing the yu tone makes people orderly and fond of ritual. Ritual enters from the outside; music emerges from within. Therefore, the gentleman cannot for a moment depart from ritual; if he does, violent and insolent conduct breaks out on the outside. He cannot for a moment depart from music; if he does, treacherous and deviant conduct fills the interior. Thus, musical tones are a means by which the gentleman nourishes righteousness. In ancient times, the Son of Heaven and the lords listened to bells and chimes without ever leaving the courtyard; ministers and grand officers listened to qin and se music without ever leaving before them. This was to nurture proper conduct and prevent licentious dissipation. Licentious dissipation arises from lack of ritual. Therefore, the sage kings made people hear the sounds of ya and song, see dignified bearing, move with respectful bearing, and speak the Way of benevolence and righteousness. Therefore, the gentleman speaks all day long, and deviant ways have no way to enter.