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| "Lofty Recluses." 高逸圖. Painted on silk scroll, 45.2x168 cm. Shanghai Museum. |
This is a fragment of a painting from the late Tang, by the famed artist Sun Wei 孫位 (fl. 850s) whose only surviving work is the above "Lofty Recluses" (Gaoyi tu 高逸圖). This is a depiction of four of the Seven Sages; from left to right respectively Shan Tao 山濤, Wang Rong 王戎, Liu Ling 劉伶, and Ruan Ji 阮籍.
A closer look at Ruan Ji, whose "On Music" 樂論 will be discussed shortly.
The nature of music has become a favorite subject of debate by the mid-third century. It was one of the topics of "pure talks" 清談, a dialectical form en vogue at the time, i.e. shunning speaking of contemporary political affair in favor of seemingly lighthearted and harmless banter, as a way of self-preservation. "On Music," however, is much more Confucian in tone in contrast to Ruan Ji's other writings, for "pure talks" was intimately engaged with the rise of Arcane Learning 玄學, or Taoist-mysticism associated with the writings of Laozi and Zhuangzi. While Taoism was not interpreted as oppositional to the teachings of Confucianism, it offered a much more attractive alternative to previously state-sponsored Confucian ideology, as the heavily Confucian Han empire gradually disintegrated into the hands of regional hegemons.
It is against such a backdrop of political turmoil that the Seven Sages retreated into the sanctuary of the verdant, lithe bamboo groves. By the brushes of writers from a few generations later, these seven have achieved legendary sage-hood by incessant drinking, streaking, music and merrymaking, and most notorious of all, drug abuse in the form of alchemist elixir-seeking. Thus a heavily Confucian treatise such as "On Music" has an odd place in the hedonistic zeitgeist of the Wei-Jin transitional period.
Historical truth, however, can never be grasped retrospectively across thousands of years; it is only from the writings with genuine authorship that we may glimpse into the minds of these aesthetes. Successive generations have romanticized Ruan Ji and his six friends for their unrestrained lifestyles, but it is documents like "On Music" that brings us closer to a historicization of their personalities.
This text takes the form of a fictional dialogue between an inquisitive interlocutor Liu Zi, who quotes Confucius' claim that the societal function of music is moral transformation of the people, and asks Ruan Ji to further explicate how music can be used for edification purposes when it does not seem to add nor take away anything from society. Then Ruan Ji launches into an exposition on the nature between music, ritual, social order, and emotional responses. Ruan Ji begins with a conservative portrayal of the normative nature of music, which is one of moderation and restrain; he then criticizes the dominant view that exquisite music is that which moves people to tears or emotional extremes, yet in conclusion ultimately leaves the choice of how to enjoy music up to the reader to decide for him/herself.
The full text of "On Music" is given in paragraphs below, with translation taken from Reed Andrew Criddle.
"On Music" 阮籍 【 樂論 】
劉子問曰：
It is against such a backdrop of political turmoil that the Seven Sages retreated into the sanctuary of the verdant, lithe bamboo groves. By the brushes of writers from a few generations later, these seven have achieved legendary sage-hood by incessant drinking, streaking, music and merrymaking, and most notorious of all, drug abuse in the form of alchemist elixir-seeking. Thus a heavily Confucian treatise such as "On Music" has an odd place in the hedonistic zeitgeist of the Wei-Jin transitional period.
Historical truth, however, can never be grasped retrospectively across thousands of years; it is only from the writings with genuine authorship that we may glimpse into the minds of these aesthetes. Successive generations have romanticized Ruan Ji and his six friends for their unrestrained lifestyles, but it is documents like "On Music" that brings us closer to a historicization of their personalities.
This text takes the form of a fictional dialogue between an inquisitive interlocutor Liu Zi, who quotes Confucius' claim that the societal function of music is moral transformation of the people, and asks Ruan Ji to further explicate how music can be used for edification purposes when it does not seem to add nor take away anything from society. Then Ruan Ji launches into an exposition on the nature between music, ritual, social order, and emotional responses. Ruan Ji begins with a conservative portrayal of the normative nature of music, which is one of moderation and restrain; he then criticizes the dominant view that exquisite music is that which moves people to tears or emotional extremes, yet in conclusion ultimately leaves the choice of how to enjoy music up to the reader to decide for him/herself.
The full text of "On Music" is given in paragraphs below, with translation taken from Reed Andrew Criddle.
"On Music" 阮籍 【 樂論 】
劉子問曰：
孔子云「安上治民，莫善於禮，移風易俗，莫善於樂。」夫禮者，男女之所以別，父子之所以成，君臣之所以立，百姓之所以平也。為政之具，靡先于此。故安上治民，莫善于禮」也。夫金石絲竹鐘鼓管弦之音，干戚羽旄進退俯仰之容，有之無益於政，無之何損于化。而曰移風易俗，莫善於樂乎？
Liu-zi asked:
Confucius said, “When it comes to ensuring security to the upper-class and ruling the people, there is nothing better than rites; and when it comes to changing customs and altering habits, there is nothing better than music.” Now, rites are that which separates males from females, distinguishes between father and son, establishes master and servant, and creates peaceful stability among the masses. As no tool of government comes before this [rites], therefore when it comes to ensuring security to the upper class and ruling the people fairly, there is nothing better than rites. However, of what benefit to government are the sounds of metal, stone, silk, and bamboo (comprising bells, drums, woodwinds, and strings) and the appearance of shields, axes, plumes, and oxtails (combined with convoluted choreography)? If these were taken away, what harm would this incur to moral transformation? Furthermore, why did Confucius say, “When it comes to changing customs and altering habits, there is nothing better than music”?
阮先生曰：
善哉，子之問也。昔者孔子著其都乎，未舉其略也。今將為子論其凡，而子備詳焉。
Master Ruan replied:
What an excellent question you have asked! Formerly when Confucius addressed this topic, he laid out a general framework, but failed to raise its key points. I will now discourse on its main points, and you can fill in the details yourself.
夫樂者，天地之體，萬物之性也。合其體，得其性，則和。離其體，失其性，則乖。昔者聖人之作樂也，將以順天地之體，成萬物之性也。故定天地八方之音，以迎陰陽八風之聲，均黃鐘中和之律，開群生萬物之情。故律呂協則陰陽和，音聲適而萬物類，男女不易其所，君臣不犯其位，四海同其歡，九州一其節，奏之圜丘而天神下，奏之方丘而地祇上，天地合其德則萬物合其生，刑賞不用而民自安矣。
Now, music embodies the configuration of heaven and earth and the nature of all creatures. When the configuration of heaven and earth is in accordance, and the true nature of all creatures is obtained, there is harmony; when heaven and earth depart from this configuration, and the nature of all creatures is lost, there is discordance. Formerly, when the ancient sages created music, they followed the confi guration of heaven and earth, and sought the nature of all beings. Subsequently, they established pitches corresponding with the world’s eight directions to match the sounds created by the yin and yang forces in the eight winds; tempering the pitch of the Yellow Bell and thus initiating the emotional energies of all creatures. Thereupon when pitch pipes were balanced, yin and yang were in harmony; when musical sounds were complementarily tuned, beings were grouped in their kinds. Male and female did not seek to alter their status, master and servant did not transgress each other’s position, all within the four seas had the same views, and the nine provinces were unified in their metric standards. Performing music at the Round Hill altar caused the gods of heaven to descend. Performing at the Square Mount altar caused the gods of earth to ascend. Heaven and earth were coupled in their life-giving power and all creatures were linked in their vitality. Punishments and rewards were not necessary because the citizens were naturally peaceful among themselves.
Master Ruan replied:
What an excellent question you have asked! Formerly when Confucius addressed this topic, he laid out a general framework, but failed to raise its key points. I will now discourse on its main points, and you can fill in the details yourself.
夫樂者，天地之體，萬物之性也。合其體，得其性，則和。離其體，失其性，則乖。昔者聖人之作樂也，將以順天地之體，成萬物之性也。故定天地八方之音，以迎陰陽八風之聲，均黃鐘中和之律，開群生萬物之情。故律呂協則陰陽和，音聲適而萬物類，男女不易其所，君臣不犯其位，四海同其歡，九州一其節，奏之圜丘而天神下，奏之方丘而地祇上，天地合其德則萬物合其生，刑賞不用而民自安矣。
Now, music embodies the configuration of heaven and earth and the nature of all creatures. When the configuration of heaven and earth is in accordance, and the true nature of all creatures is obtained, there is harmony; when heaven and earth depart from this configuration, and the nature of all creatures is lost, there is discordance. Formerly, when the ancient sages created music, they followed the confi guration of heaven and earth, and sought the nature of all beings. Subsequently, they established pitches corresponding with the world’s eight directions to match the sounds created by the yin and yang forces in the eight winds; tempering the pitch of the Yellow Bell and thus initiating the emotional energies of all creatures. Thereupon when pitch pipes were balanced, yin and yang were in harmony; when musical sounds were complementarily tuned, beings were grouped in their kinds. Male and female did not seek to alter their status, master and servant did not transgress each other’s position, all within the four seas had the same views, and the nine provinces were unified in their metric standards. Performing music at the Round Hill altar caused the gods of heaven to descend. Performing at the Square Mount altar caused the gods of earth to ascend. Heaven and earth were coupled in their life-giving power and all creatures were linked in their vitality. Punishments and rewards were not necessary because the citizens were naturally peaceful among themselves.
乾坤易簡，故雅樂不煩。道德平淡，故無聲無味。不煩則陰陽自通，無味則百物自樂，日遷善成化而不自知，風俗移易而同於是樂。此自然之道，樂之所始也。
Because the world was simple, refined music was not complicated. Since The Way and Virtue were plain, the five tones were likewise flavorless. This lack of complexity allowed the yin and yang to flow uninterrupted, and the flavorlessness of musical tones resulted in the spontaneous happiness of every creature. There was daily improvement and transformation, and they were not even aware of it, for the habits and customs of the people readily shifted in accordance with this music. This is the natural Way and the origin of music.
Because the world was simple, refined music was not complicated. Since The Way and Virtue were plain, the five tones were likewise flavorless. This lack of complexity allowed the yin and yang to flow uninterrupted, and the flavorlessness of musical tones resulted in the spontaneous happiness of every creature. There was daily improvement and transformation, and they were not even aware of it, for the habits and customs of the people readily shifted in accordance with this music. This is the natural Way and the origin of music.
其後聖人不作，道德巟壞，政法不立，化廢欲行，各有風俗。故造始之教謂之風，習而行之謂之俗。楚越之風好勇，故其俗輕死，鄭衛之風好淫，故其俗輕蕩。輕死，故有蹈水赴火之歌。輕蕩，故有桑間濮上之曲。各歌其所好，各詠其所為。歌之者流涕，聞之者歎息，背而去之，無不慷慨。懷永日之娛，抱長夜之忻，相聚而合之，群而習之，靡靡無已。棄父子之親，弛君臣之制，匱室家之禮，廢耕農之業，忘終身之樂，崇淫縱之俗。故江淮之南，其民好殘，漳汝之間，其民好奔。吳有雙劍之節，趙有扶琴之客。氣發於中，聲入於耳，手足飛揚，不覺其駭。
Thereafter, there were no more sages and The Way and Virtue were abandoned and corrupted. Government and justice were not institutionalized, cunning and intelligent men disturbed everything, moral reforms were discarded and passions pursued, resulting in disparate customs and habits for each region. Therefore, that which they began to teach, they called custom; that which they became accustomed to and practiced, they called habit. The custom of the states of Chu and Yue was to esteem military bravery, and thus their habit was to treat death lightly. The custom of the states of Zheng and Wei was to esteem wanton plea sure, and thus their habit was to treat unrestrained behavior lightly. Treating death lightly, Chu and Yue had songs about braving fi re and water; treating lasciviousness lightly, Zheng and Wei had the melodies “Sangjian” and “Pushang.” Each state sang about what it enjoyed, and each state recited those things it practiced. Those who sang shed tears, those who listened let out a sigh. When it was time to turn and go, there were none who were not moved with passion. Everyone was filled with emotion for the day’s pleasures, and stayed wrapped up in sighs all night long. Then they would again come together to sing, gathering in one place, and performing the songs effeminately without end. With disregard for intimacy between father and son, disrespect for the institutions of ruler and servant, an absence of ritual in the home, the abandonment of agrarian livelihood, they no longer sought life-long happiness, but rather to exalt habits of licentiousness and indulgence.
Thus, south of the Jiang and Huai rivers, the people indulged in violence, while those people between Zhang and Ru were fond of eloping. The state of Wu had the integrity of the two swords. The state of Zhao had the instance of the lute-playing retainer. Vital energy exudes from the center; sound enters in the ear. Hands and feet flit about, not knowing the harm they cause.
好勇則犯上，淫放則棄親。犯上則君臣逆，棄親則父子乖。乖逆交爭，則患生禍起。禍起而異愈異，患生而慮不同。故八方殊風，九州異俗，乖離分背，莫能相通，音異氣別，曲節不齊。
Inclinations toward military bravery brought uprisings against superiors whilst inclinations toward debauchery brought a lack of regard for kin. Uprisings against superiors led to distrust between kin and servant, while disregard for kin led to estrangement of fathers and sons. When estrangement and distrust combined, destruction arose and calamity was born. Out of arising destruction and calamity came extreme discrepancies in ideas and differences in thought. Therefore, the people of the eight directions had their distinctive customs, the nine provinces had their differing habits, and there was estrangement, separation, division, and avoidance such that no exchange could exist. Musical sounds differed, their vital essence separated, and tunes and rhythms lacked uniformity.
故聖人立調適之音，建平和之聲，制便事之節，定順從之容，使天下之為樂者莫不儀焉。自上以下，降殺有等，至於庶人，咸皆聞之。歌謠者詠先王之德，頫仰者習先王之容，器具者象先王之式，度數者應先王之制。入于心，淪于氣，心氣合洽，則風俗齊一。聖人之為進退頫仰之容也，將以屈形體，服心意，便所修，安所事也。歌詠詩曲，將以宣平和，著不逮也。鐘鼓所以節耳，羽旄所以制目。聽之者不傾，視之者不衰。耳目不傾不衰，則風俗移易。故移風易俗莫善于樂也。
Thus, the sages established a proper temperament for pitches, a balanced and harmonious sound, rhythmic patterns for each task, and obedient bearing, in such a way that, among those who made music, none dared not follow their model. From top to bottom, passing through each stage until it reached the masses, everyone heard the sages’ music. Those who sang prophetic songs praised the former sage-kings’ virtue. Those who danced, raising and bowing their heads, exhibited the sage-kings’ bearing. The instruments and props they used resembled the sage-kings’ model. The decreed number reflected those instituted by the sage-kings. The sages’ music entered the people’s minds and permeated their vital energy. As their minds and vital energies harmonized, their customs and habits became unifi ed. The sages’ movements of advancing, retreating, raising, and bending over dictated the way the people bowed, causing them to be humble in spirit, aiding their self-cultivation, and bringing peace of mind in their affairs. Singing songs and intoning melodies proclaimed peace and also revealed shortcomings. Bells and drums functioned to control the ears; plumes and oxtails functioned to direct the eyes. Those who heard the music did not turn away; those who watched the dancing did not decline. As such, customs and habits were changed. Thus, “when it comes to changing customs and altering habits, there is nothing better than music.”
Inclinations toward military bravery brought uprisings against superiors whilst inclinations toward debauchery brought a lack of regard for kin. Uprisings against superiors led to distrust between kin and servant, while disregard for kin led to estrangement of fathers and sons. When estrangement and distrust combined, destruction arose and calamity was born. Out of arising destruction and calamity came extreme discrepancies in ideas and differences in thought. Therefore, the people of the eight directions had their distinctive customs, the nine provinces had their differing habits, and there was estrangement, separation, division, and avoidance such that no exchange could exist. Musical sounds differed, their vital essence separated, and tunes and rhythms lacked uniformity.
故聖人立調適之音，建平和之聲，制便事之節，定順從之容，使天下之為樂者莫不儀焉。自上以下，降殺有等，至於庶人，咸皆聞之。歌謠者詠先王之德，頫仰者習先王之容，器具者象先王之式，度數者應先王之制。入于心，淪于氣，心氣合洽，則風俗齊一。聖人之為進退頫仰之容也，將以屈形體，服心意，便所修，安所事也。歌詠詩曲，將以宣平和，著不逮也。鐘鼓所以節耳，羽旄所以制目。聽之者不傾，視之者不衰。耳目不傾不衰，則風俗移易。故移風易俗莫善于樂也。
Thus, the sages established a proper temperament for pitches, a balanced and harmonious sound, rhythmic patterns for each task, and obedient bearing, in such a way that, among those who made music, none dared not follow their model. From top to bottom, passing through each stage until it reached the masses, everyone heard the sages’ music. Those who sang prophetic songs praised the former sage-kings’ virtue. Those who danced, raising and bowing their heads, exhibited the sage-kings’ bearing. The instruments and props they used resembled the sage-kings’ model. The decreed number reflected those instituted by the sage-kings. The sages’ music entered the people’s minds and permeated their vital energy. As their minds and vital energies harmonized, their customs and habits became unifi ed. The sages’ movements of advancing, retreating, raising, and bending over dictated the way the people bowed, causing them to be humble in spirit, aiding their self-cultivation, and bringing peace of mind in their affairs. Singing songs and intoning melodies proclaimed peace and also revealed shortcomings. Bells and drums functioned to control the ears; plumes and oxtails functioned to direct the eyes. Those who heard the music did not turn away; those who watched the dancing did not decline. As such, customs and habits were changed. Thus, “when it comes to changing customs and altering habits, there is nothing better than music.”
故八音有本體，五聲有自然，其同物者以大小相君。有自然，故不可亂，大小相君，故可得而平也。若夫空桑之琴，雲和之瑟，孤竹之管，泗濱之磬，其物皆調和淳均者，聲相宜也。故必有常處。
The eight tones have their own instrumental timbre; the five sounds have distinct identities, and those of the same type are distinguished by their size and class. Because they have distinct identities, they cannot be confused; because they can be distinguished by size and class, they can be made even. For in- stance, the lutes of Empty Mulberry, the zithers of Harmonious Clouds, the woodwinds of isolated bamboo stalks, and the chimes of the Si River’s shore are all pure and balanced with mutually apt sounds. As a result, it is necessary to have standard locations of production.
以大小相君，應黃鐘之氣，故必有常數。有常處，故其器貴重。有常數，故其制不妄。貴重，故可得以事神。不妄，故可得以化人。其物係天地之象，故不可妄造。 其凡似遠物之音，故不可妄易。雅頌有分，故人神不雜。節會有數，故曲折不亂。周旋有度，故頫仰不惑。歌詠有主，故言語不悖。導之以善，綏之以和，守之以 衷，持之以久，散其群，比其文，扶其夭，助其壽，使其風俗之偏習，歸聖王之大化。
When it comes to differing sizes and classes of instruments, they match the Yellow Bell’s resonant energy, so there must be a standard of measurement. With a standard location, the instruments become valuable; with a standard of measurement, their quality will not degenerate. As they become valuable, they are then worthy to be used to serve the gods; as they stay constant, they are worthy to be used to reform the people. Since these instruments are modeled after heaven and earth, they must not be made haphazardly. Their tones resemble those of faraway instruments, so they should not be haphazardly altered. Airs and hymns are distinguishable; therefore, secular music and sacred music are not mixed. There are rules of rhythm and tempo so the melodies do not fall into disarray. There are conventions for whirling dance movements so the choreography is not muddled. There is a director for singing and recitation so the words are not out of sync. Lead the people with excellent music, pacify them with harmony, protect them with genuine sincerity, and preserve them with what endures. By breaking up their cliques, comparing their cultural ways, decreasing infant mortality, and helping the elderly, society will be rid of the dubious practices that derive from customs and habits, and will return to the great transformation of the sage-kings.
先王之為樂也，將以定萬物之情，一天下之意也，故使其聲平，其容和。下不思上之聲，君不欲臣之色，上下不爭而忠義成。夫正樂者，所以屏淫聲也。故樂廢則淫聲作。漢哀帝不好音，罷省樂府，而不知制禮樂，正法不修，淫聲遂起。張放．淳于長驕縱過度，丙彊．景武富溢于世。罷樂之後，下移踰肆。身不是好而淫亂愈甚者，禮不設也。
The former sage-kings made music to control the emotive state of all creatures and to unify their wills, such that their voices were balanced, their appearances harmonious, subordinates did not long for the music of their superiors, and superiors did not lust after their subordinates. Superiors and subordinates did not quarrel, all of which perfected loyalty and righteousness. Now, rectifying music is to eliminate licentious music. When proper music is set aside, licentious sounds arise. Han emperor Ai was not fond of music and eliminated the Music Bureau,68 not knowing how to institute proper ritual. Because proper music was not cultivated, licentious music arose. Zhang Fang and Chun Yu Zhang were unrestrained and conceited beyond measure. Bing Jiang and Jing Wu’s wealth surpassed all others of their age. After proper music was eliminated, the empire only became more unbridled in its ways. Because of the emperor’s displeasure in music, wild lasciviousness got even worse, because rites were not established.
The former sage-kings made music to control the emotive state of all creatures and to unify their wills, such that their voices were balanced, their appearances harmonious, subordinates did not long for the music of their superiors, and superiors did not lust after their subordinates. Superiors and subordinates did not quarrel, all of which perfected loyalty and righteousness. Now, rectifying music is to eliminate licentious music. When proper music is set aside, licentious sounds arise. Han emperor Ai was not fond of music and eliminated the Music Bureau,68 not knowing how to institute proper ritual. Because proper music was not cultivated, licentious music arose. Zhang Fang and Chun Yu Zhang were unrestrained and conceited beyond measure. Bing Jiang and Jing Wu’s wealth surpassed all others of their age. After proper music was eliminated, the empire only became more unbridled in its ways. Because of the emperor’s displeasure in music, wild lasciviousness got even worse, because rites were not established.
刑教一體，禮樂外內也。刑弛則教不獨行，禮廢則樂無所立。尊卑有分，上下有等，謂之禮。人安其生，情意無哀，謂之樂。車服，旌旗，宮室，飲食，禮之具也。鐘磬，鞞鼓，琴瑟，歌舞，樂之器也。禮踰其制，則尊卑乖。樂失其序，則親疏亂。禮定其象，樂平其心。禮治其外，樂化其內。禮樂正而天下平。
Punishment and instruction are one body; ritual and music are complementary. If punishment was slackened, instruction could not proceed. Should ritual be discarded, music has nothing on which to stand. Performing ritual separates the honorable from the lowly, dividing superiors from inferiors. Playing music makes people content with their lives and dispels sadness. Chariots, apparel, banners, flags, palaces, rooms, food, and drink are tools of ritual. Bells, chimes, drums, lutes, zithers, song, and dance are instruments of music. When ritual goes beyond what has been fixed, the honorable and the lowly become confused; when the order of music is lost, close and distant relations become indistinguishable. Ritual fixes appearance, and music calms the heart. Ritual regulates the exterior, while music alters the interior. When ritual and music are correctly set, the world is at peace.
Punishment and instruction are one body; ritual and music are complementary. If punishment was slackened, instruction could not proceed. Should ritual be discarded, music has nothing on which to stand. Performing ritual separates the honorable from the lowly, dividing superiors from inferiors. Playing music makes people content with their lives and dispels sadness. Chariots, apparel, banners, flags, palaces, rooms, food, and drink are tools of ritual. Bells, chimes, drums, lutes, zithers, song, and dance are instruments of music. When ritual goes beyond what has been fixed, the honorable and the lowly become confused; when the order of music is lost, close and distant relations become indistinguishable. Ritual fixes appearance, and music calms the heart. Ritual regulates the exterior, while music alters the interior. When ritual and music are correctly set, the world is at peace.
昔衛人求繁纓曲懸，而孔子歎息，蓋惜禮壞而樂崩也。夫鐘者，聲之主也。懸者，鐘之制也。鐘失其制，則聲失其主。主制無常，則怪聲並出。盛衰之代相及，古今之變若一。故聖教廢毀，則聰慧之人並造奇音。
In earlier times there was the story of a man of Wei who sought saddle girths, skins for his horse’s necks, and three-sided rack of bells of lords. This caused Confucius to sigh, since in former times ritual was abused and its instruments defiled. Now, bells are the master of sound, and the three-sided rack regulates the bells. If the bells lose their regulation, sound will lose its master. When the master and regulation are irregular, then strange combinations of noises arise. Generations that rise and fall all come to this; changes of former and modern times are all the same. So it is that when the sages’ teachings are discarded, clever, intelligent men combine to produce odd music.
景王喜大鐘之律，平公好師延之曲。公卿大夫拊手嗟歎。庶人群生踊躍思聞。正樂遂廢，鄭聲大興，雅頌之詩不講，而妖淫之曲是尋。延年造傾城之歌，而孝武思孊 嫚之色。雍門作松柏之音，愍王念未寒之服。故猗靡哀思之音發，愁怨偷薄之亂興，則人後有縱欲奢侈之意，人後有內顧自奉之，是以君子惡大陵之歌，憎北里之舞。
King Jing of Zhou took pleasure in the pitch of the larger bells. Duke Ping of Jin loved the Yin melody presented him. Nobles and ministers applauded and marveled at it. The common people tumbled over one another in their eager desire to hear it. Thus, proper music was rejected and the sounds of Zheng flourished. The lyrics of airs and hymns went unspoken; only the evil and base melodies were sought after. Li Yannian composed the song about a city-overturning beauty, and it made Han Emperor Wu become obsessed with female beauty. Yong Men played tunes from pines and cypress, which caused King Min of Qi [not to wear his winter clothing]. Therefore, when sounds of longing distress appear, words of sorrowful resentment burgeon, and the people lust after pleasures and extravagance, only looking after and serving themselves. For these reasons, a gentleman despises the songs of Da Ling76 and abhors the dances of Bei Li.
昔先王制樂，非以縱耳目之觀，崇曲房之嬿也。心通天地之氣，靜萬物之神也。固上下之位，定性命之真也。故清廟之歌詠成功之績，賓響之詩稱禮讓之則，百姓化其善，異俗服其德。此淫聲之所以薄，正樂之所以貴也。
When regulating music, the former sage kings did not seek to indulge in plea- sures of ear and eye or for greater enjoyment in their inner chambers. Their purpose was resolutely to transmit the vital energy of heaven and earth, pacify the spirits of all things, solidify positions of rank, and fi x the true essence of life. This is why the song of “Qing Temple” lauds their accomplishments and the song of “Guests Imbibing Wine” praises the principles of ritual and yielding. The people were transformed by music’s goodness and the varying cultural habits became aligned with its virtue. This is why licentious sounds were regarded as contemptible and proper music was considered valuable.
然禮與變俱，樂與時化。故五帝不同制，三王各異造。非其相反，應時變也。夫百姓安服淫亂之聲，殘害先王之正。故後王必更作樂，各宣其功德於天下，通其變使民不倦。然但改其名目，變造歌詠，至于樂聲，平和自若。故黃帝詠雲門之神，少昊歌鳳鳥之跡。咸池．六英之名既變，而黃鐘之宮不改易。故達道之化者可與審樂，好音之聲者不足與論律也。
Since ritual and music change with time, the Five Emperors had different methods of rule, and the Three Kings80 each devised their own system. It is not that they aimed to reverse one another; their changes reflect their time. Now, the people were accustomed to the lascivious sounds and also corrupted the propriety of the former-kings. Therefore later kings surely had to reinvent music, each proclaiming his merit and virtue to the world, and making it suitable for the times so that the citizens did not become weary. Therefore, they merely changed the names and contents of songs and thereby regained peace and harmony. This is why the Yellow Emperor sang of the spirits in “Gate of Clouds,” why his son Shao Hao sang about the miracle of the phoenix, and why the names of “Salty Pool” and “Six Talents” were changed, even though the tonic pitch of the Yellow Bell was not altered. Music can be investigated with those who have thoroughly mastered the Way’s transformation, but those who merely love music are not worthy of discussing the pitches’ temperaments.
舜命夔與典樂，教胄子以中和之德。「詩言志，歌依詠，律和聲。八音克諧，無相奪倫，神人以和。」又曰「予欲聞六律五聲八音，在治忽以出納五言，女聽。」夫煩奏淫聲，汨湮心耳，乃忘平和，君子弗聽。言正樂通，平正易簡，心澄氣清，以聞音律，出納五言也。
Shun commanded Kui and Long to use musical strains in teaching his sons the virtue of harmony, saying: “Poetry speaks of one’s will. Songs incant speech. Sound relies on recitation. Pitches harmonize sound. When the eight timbres are in accordance and are not interfering with each other, this brings harmony to the spirits and mankind.” He continued, “I want to hear the six pitches, the five tones, and the eight timbres, and with these observe the status of my ruling and with edicts and responses restore the five virtues. Take heed to this.” Complexly crafted, vulgar music that clouds the mind and stops86 up the ears causes one to forget peace and harmony. A gentleman will not listen to it. This says proper music is easy and straightforward and when the mind is clear, vital energy is pure. To listen to the fixed pitches and timbres, edicts and responses will be in line with the five virtues.
Shun commanded Kui and Long to use musical strains in teaching his sons the virtue of harmony, saying: “Poetry speaks of one’s will. Songs incant speech. Sound relies on recitation. Pitches harmonize sound. When the eight timbres are in accordance and are not interfering with each other, this brings harmony to the spirits and mankind.” He continued, “I want to hear the six pitches, the five tones, and the eight timbres, and with these observe the status of my ruling and with edicts and responses restore the five virtues. Take heed to this.” Complexly crafted, vulgar music that clouds the mind and stops86 up the ears causes one to forget peace and harmony. A gentleman will not listen to it. This says proper music is easy and straightforward and when the mind is clear, vital energy is pure. To listen to the fixed pitches and timbres, edicts and responses will be in line with the five virtues.
夔曰「戛擊鳴球，搏拊琴瑟以詠，祖考來格。虞賓在位，群后德讓，下管鼗鼓，合止祝敔，笙鏞以閒，鳥獸蹌蹌，簫韶九成，鳳凰來儀。」夔曰「於。予擊石拊石，百獸率舞。」
Kui said: “By banging the jade chime, pounding the fu drum, and reciting to lutes and zithers, the ancestors would come. The Guest of Yu was given rank and the feudal lords yielded to virtue. The Lower Flute and the small Zhao drum joined together and halted with the sounds of the zhu and wu. This was interspersed with the sheng and the yong drum, the patterned choreography resembling birds and beasts, nine verses of the Xiao Shao melody, and the phoenix come to dance.” Kui went on, “Oh, when I strike stones together, a hundred animals dance. The masses likewise fall into harmony.”
「庶尹允諧。詩言志，歌詠言，操磬鳴琴，以聲依律，述先生之德，故祖考之神來格也。笙鏞以閒，正樂聲希，治修無害，故繁毓，蹌蹌然也。樂有節適，九成而已，陰陽調達，和氣均通，故遠鳥來儀也。質而不文，四海合同，故繫石拊石，百獸率舞也。」
Poetry speaks of one’s will. Songs incant speech. The sounds of ringing chimes and resonating lutes rely on pitches and tell of former kings’ virtues. For this reason the ancestors appear. With the sheng and the yong drum interspersed, proper music fades out; when ruling is refined and not abusive, all flourish in dance-like bliss. The music is patterned with only nine verses, yin and yang are balanced and accessible, harmony is even, and vital energy easily flows. Thus, faraway birds come participate in the rite. The Shao music had substance, but not beauty. So the four seas were united. This is why when you strike stones together, a hundred beasts dance together."
言天下治平，萬物得所，音聲不譁，漠然未兆，故眾官皆和也。故孔子在齊聞韶，三月不知肉好。言至樂使人無欲，心平氣定，不以肉為滋味也。以此觀之，知聖人之樂和而已矣。
This means that the world was ruled peacefully. All things had their place, musical sounds were not extravagant, and there were no signs of disturbances. Thereupon, all offi cials were in harmony. Because of this, Confucius, when he heard the music of Shao in the state of Qi, “knew not the flavor of meat for three months.” This means music takes desire out of man, calming the mind and settling the qi, such that the flavor of meat becomes undesirable. From this perspective, we know that the music of the sages is simply a matter of harmony.
自西陵青陽之樂皆取之行，聽鳳凰之鳴，尊長風之象，采大林之□，當時之所不見，百姓之所希聞。故天下懷其德而化其神也。夫雅樂周通則萬物和，質靜則聽不淫，易簡則節制全，靜重則服人心。此先王造樂之意也。自後衰末之為樂也，其物不真，其器不固，其制不信，取於近物，同于人閒，各求其好，恣意所存，閭里之聲競高，永巷之音爭先，童兒相聚以詠富貴，蒭牧負戴以歌賤貧，君臣之職未廢，而一人懷萬心也。
Ever since the music of Qingyang from the state of Xiling, bamboo was picked for the pipes so men could listen to the call of the phoenix. For the statue honoring the Long Wind, wood columns96 were selected from the Great Forest. Because these things were never before seen at that time, the people having barely heard of them, the whole world treasured their virtuosity, and the people were converted by their spirits. Now, refined music was universally accessible such that all creatures were made harmonious. Its substance was calm such that listeners did not become wanton. Its simplicity was such that the whole spirit felt orderly and temperate. Its solemnity was such that men’s hearts became subdued. This was the former kings’ intent in devising music.
The music making of decadent later generations involved impure materials. They were weak instruments of unreliable mea surements made from nearby materials and made just like local folk instruments. Each sought after what pleased him, whatever his reckless thoughts fixed on. The village sounds competed for dominance; the tunes of the inner palace fought for supremacy. The children gathered to recite poetry praising the wealthy. The laborers in the field and on the roads sang of their destitute poverty. Although the ranks of lord and subject were not discarded, one man harbored the different minds of ten thousand men.
Ever since the music of Qingyang from the state of Xiling, bamboo was picked for the pipes so men could listen to the call of the phoenix. For the statue honoring the Long Wind, wood columns96 were selected from the Great Forest. Because these things were never before seen at that time, the people having barely heard of them, the whole world treasured their virtuosity, and the people were converted by their spirits. Now, refined music was universally accessible such that all creatures were made harmonious. Its substance was calm such that listeners did not become wanton. Its simplicity was such that the whole spirit felt orderly and temperate. Its solemnity was such that men’s hearts became subdued. This was the former kings’ intent in devising music.
The music making of decadent later generations involved impure materials. They were weak instruments of unreliable mea surements made from nearby materials and made just like local folk instruments. Each sought after what pleased him, whatever his reckless thoughts fixed on. The village sounds competed for dominance; the tunes of the inner palace fought for supremacy. The children gathered to recite poetry praising the wealthy. The laborers in the field and on the roads sang of their destitute poverty. Although the ranks of lord and subject were not discarded, one man harbored the different minds of ten thousand men.
當夏后之末，輿女萬人，衣以文繡，食以梁肉，端噪晨歌，聞之者憂戚，天下苦其殃，百姓傷其毒。殷之季君，亦奏斯樂，酒池肉林，夜以繼日，然咨嗟之音未絕，而敵國已收其琴瑟矣。滿堂而飲酒，樂奏而流涕，此非皆有憂者也，則此樂非樂也。
During the later years of the Lord of Xia there were more than ten thousand female musicians. Their dresses were adorned with fine embroidery; their food was the choicest98 meat. At dawn they would croon morning songs. Those who heard them were saddened. The world suffered in calamity and the common people were injured by its poison. The last lord of Yin also listened to this music while indulging in pools of wine and forests of meat, night after day. This music of sighs had no end, even when their lutes and zithers were confiscated by the enemy. People filled the courts, drinking wine, but when the music was played they shed tears. It is not that they had something to be sad about; rather, the music was just not happy.
當君臣之時，奏斯樂於廟中，聞之者皆為之悲咽。漢桓帝聞楚琴，悽愴傷心，倚扆而悲，慷慨長息曰「善哉乎，為琴若此，一而已足矣」。順帝上恭陵，過樊衢，聞鳴鳥而悲，泣下橫流，曰「善哉鳥聲」。使左右吟之，曰「使聲若是，豈不樂哉。」夫是謂以悲為樂者也。
When Wang Mang was prime minister, a new kind of music was played in the temple. Those who heard it were moved to tears. When Emperor Huan heard the lute of the state of Chu, misery inflicted his heart. Leaning against a screen and moved with emotion, he let out a long sigh, saying, “How brilliant! With lute playing like this, after just one song I am fully satisfied.” On his way up to his father’s tomb, Emperor Shun passed by Fan Qu, heard the call of a bird, and was saddened. Tears streaming down his cheeks, he exclaimed, “What a brilliant bird noise!” He had his attendants sing it, saying, “If the sound of plucked strings could resemble this, would not that make everyone happy!” Now this is what is meant by taking pleasure in sadness.
誠以悲為樂，則天下何樂之有。天下無樂，而欲陰陽調和，災害不生，亦已難矣。樂者，使人精神平和，衰氣不入，天地交泰，遠物來集，故謂之樂也。今則流涕感動，噓唏傷氣，寒暑不適，庶物不遂，雖出絲竹，宜謂之哀。奈何俛仰歎息以此稱樂乎。
If one truly takes pleasure in sadness, what happiness is there? A world without happiness, and yet one in which the yin and yang are balanced and harmonious and no disasters arise, is difficult to attain. Music brings peace and harmony to one’s spirit, keeping withering vital energies from entering the body. Heaven and earth together become tranquil, and faraway creatures come assemble. This is why it is called happy. Music nowadays moves us to tears, our sighs disrupt our vital energy, winter and summer are not proportional, and all creatures are unable to grow. Even though ours is music produced by strings and bamboo, it should be called sorrowful. With all of your heaving and sighing, how can our music be termed happy?
If one truly takes pleasure in sadness, what happiness is there? A world without happiness, and yet one in which the yin and yang are balanced and harmonious and no disasters arise, is difficult to attain. Music brings peace and harmony to one’s spirit, keeping withering vital energies from entering the body. Heaven and earth together become tranquil, and faraway creatures come assemble. This is why it is called happy. Music nowadays moves us to tears, our sighs disrupt our vital energy, winter and summer are not proportional, and all creatures are unable to grow. Even though ours is music produced by strings and bamboo, it should be called sorrowful. With all of your heaving and sighing, how can our music be termed happy?
昔季流子向風而鼓琴，聽之者泣下沾襟。弟子曰「善哉鼓琴，亦已妙矣。」 季流子曰 「樂謂之善，哀為之傷。吾為哀傷，非為善樂也。」以此言之，絲竹不必為樂，歌詠不必為善也。故墨子之非樂也，悲夫以哀為樂也。比胡亥耽哀不變，故願為黔首。李斯隨哀不返，故思逐狡兔。嗚呼，君子可不鑒之哉。
In former times, Ji Liuzi faced the wind and played the lute. Tears stained the garments of those who listened. His disciples exclaimed, “Brilliant! Your playing has already become exquisite.” Ji Liuzi replied, “Those who find it happy call it brilliant. Those who find it sorrowful call it distressing. I call it sorrowful and distressing, not brilliant and happy.” To speak like this, strings and bamboo are not necessarily music and the songs and chants are not necessarily brilliant. This attitude was Mozi’s reason for writing “Criticizing Music.” Sad are they who take plea sure in sorrow: Hu Hai’s indulging in sorrow unceasingly made him wish he could be a commoner. Li Si’s unremitting pursuit of sorrow made him think back fondly of when he hunted cunning rabbits. Alas, can a gentleman not learn something from them?
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"Drunken Madness" （Jiukuang 酒狂）played on the seven-stringed zither guqin 古琴, a rather free and unrestrained interpretation from the contemporary guqin master Gong Yi 龔一 (b. 1941). This artful celebration of inebriation is attributed to the very same Ruan Ji, who could have composed this piece ad lib under the swaying lithe bamboo shoots while imbibing some sweet fine ale. The earliest score is traced only to 1425; the connection between the actual piece and Ruan Ji obviously exists in legends only; yet the bibulous mood of the piece is freely channeled to every man who has ever tasted that wonderful state of vertiginous disequilibrium.
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