Yuelun — Discourse on Music樂論篇
夫樂者，樂也，人情之所必不免也，故人不能無樂。樂則必發於聲音，形於動静，而人之道，聲音、動静、性術之變盡是矣。故人不能不樂，樂則不能無形，形而不爲道，則不能無亂。先王惡其亂也，故制《雅》、《頌》之聲以道之，使其聲足以樂而不流，使其文足以辨而不諰，使其曲直、繁省、廉肉、節奏足以感動人之善心，使夫邪汙之氣無由得接焉。是先王立樂之方也，而墨子非之，奈何！故樂在宗廟之中，君臣上下同聽之，則莫不和敬；閨門之內，父子兄弟同聽之，則莫不和親；鄉里族長之中，長少同聽之，則莫不和順。故樂者，審一以定和者也，比物以飾節者也，合奏以成文者也，足以率一道，足以治萬變。是先王立樂之術也，而墨子非之，奈何！故聽其《雅》、《頌》之聲，而志意得廣焉；執其干戚，習其俯仰屈伸，而容貌得莊焉；行其綴兆，要其節奏，而行列得正焉，進退得齊焉。故樂者，出所以征誅也，入所以揖讓也。征誅揖讓，其義一也。出所以征誅，則莫不聽從；入所以揖讓，則莫不從服。故樂者，天下之大齊也，中和之紀也，人情之所必不免也。是先王立樂之術也，而墨子非之，奈何！且樂者，先王之所以飾喜也；軍旅鈇鉞者，先王之所以飾怒也。先王喜怒皆得其齊焉。是故喜而天下和之，怒而曓亂畏之。先王之道，禮樂正其盛者也，而墨子非之。故曰：墨子之於道也，猶瞽之於白黑也，猶聾之於清濁也，猶欲之楚而北求之也。夫聲樂之入人也深，其化人也速，故先王謹爲之文。樂中平則民和而不流，樂肅莊則民齊而不亂。民和齊則兵勁城固，敵國不敢嬰也。如是，則百姓莫不安其處，樂其鄉，以至足其上矣。然後名聲於是白，光輝於是大，四海之民莫不願得以爲師。是王者之始也。樂姚冶以險，則民流僈鄙賤矣。流僈則亂，鄙賤則争。亂争則兵弱城犯，敵國危之。如是，則百姓不安其處，不樂其鄉，不足其上矣。故禮樂廢而邪音起者，危削侮辱之本也。故先王貴禮樂而賤邪音。其在序官也，曰：「修憲命，審誅商，禁淫聲，以時順修，使夷俗邪音不敢亂雅，太師之事也。」墨子曰：「樂者，聖王之所非也，而儒者爲之，過也。」君子以爲不然。樂者，聖王之所樂也，而可以善民心，其感人深，其移風易俗，故先王導之以禮樂而民和睦。夫民有好惡之情而無喜怒之應則亂。先王惡其亂也，故脩其行，正其樂，而天下順焉。故齊衰之服，哭泣之聲，使人之心悲；帶甲嬰冑，歌於行伍，使人之心傷；姚冶之容，鄭、衛之音，使人之心淫；紳端章甫，舞《韶》歌《武》，使人之心莊。故君子耳不聽淫聲，目不視女色，口不出惡言。此三者，君子慎之。凡姦聲感人而逆氣應之，逆氣成象而亂生焉；正聲感人而順氣應之，順氣成象而治生焉。唱和有應，善惡相象，故君子慎其所去就也。君子以鐘鼓道志，以琴瑟樂心，動以干戚，飾以羽旄，從以磬管。故其清明象天，其廣大象地，其俯仰周旋有似於四時。故樂行而志清，禮脩而行成，耳目聰明，血氣和平，移風易俗，天下皆寧，美善相樂。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。故樂者，所以道樂也。金石絲竹，所以道德也。樂行而民鄉方矣。故樂者，治人之盛者也，而墨子非之。且樂也者，和之不可變者也；禮也者，理之不可易者也。樂合同，禮別異。禮樂之統，管乎人心矣。窮本極變，樂之情也；著誠去僞，禮之經也。墨子非之，幾遇刑也。明王已没，莫之正也。愚者學之，危其身也。君子明樂，乃其德也。亂世惡善，不此聽也。於乎哀哉！不得成也。弟子勉學，無所營也。聲樂之象：鼓大麗，鐘統實，磬廉制，竽笙簫和，筦籥發猛，塤篪翁博，瑟易良，琴婦好，歌清盡，舞意天道兼。鼓，其樂之君邪！故鼓似天，鐘似地，磬似水，竽笙、簫和、筦籥似星辰日月，鞀、柷、拊、鞷、椌、楬似萬物。曷以知舞之意？曰：目不自見，耳不自聞也，然而治俯仰、詘信、進退、遲速莫不廉制，盡筋骨之力以要鐘鼓俯會之節，而靡有悖逆者，衆積意謘謘乎！
Now music is joy. It is what the feelings of men can never do without, and so men cannot be without joy. When there is joy it must come out in sound and voice and take shape in movement and stillness. In the way of man, the changes of sound and voice, of movement and stillness, and of nature and its skills are all exhausted here.
So men cannot but rejoice, and rejoicing cannot but take shape, and if it takes shape and is not led by the way, there cannot but be disorder. The former kings hated that disorder, and so they made the sounds of the Ya (雅) and the Song (頌) to lead it. They made those sounds joyful without running loose. They made their patterning clear without being scattered. They made the bending and the straight, the crowded and the sparse, the clear and the thick, the beat and the measure enough to move the good heart in men, so that no crooked or foul air could find a way in. This is how the former kings set up music, and Mozi condemns it. What is one to do?
So when music is in the ancestral temple and ruler and subject, high and low, listen to it together, none fail to be in harmony and reverent. Within the inner gate, when father and son and elder and younger brother listen to it together, none fail to be in harmony and close. In the village and among the elders of the clan, when old and young listen to it together, none fail to be in harmony and obedient.
So music is what examines the one and settles harmony. It is what matches things and adorns the measure. It is what plays together and completes the pattern. It is enough to lead one way. It is enough to govern ten thousand changes. This is the art by which the former kings set up music, and Mozi condemns it. What is one to do?
So when men hear the sounds of the Ya and the Song their will and thought grow wide. When they hold the shield and the axe and practice bowing and looking up, bending and stretching, their bearing grows grave. When they walk the ranks and the marks and keep to the measure, their lines become straight and their advance and retreat are even.
So music going out is the means of punishing and cutting down, and coming in it is the means of bowing and yielding. Punishing and cutting down, bowing and yielding, their rightness is one. When it goes out to punish and cut down, none fail to obey. When it comes in to bow and yield, none fail to submit.
So music is the great evenness of all under heaven, the cord of the mean and of harmony, and what the feelings of men can never do without. This is the art by which the former kings set up music, and Mozi condemns it. What is one to do?
Moreover, music is how the former kings adorned gladness, and armies and axes are how the former kings adorned anger. The gladness and the anger of the former kings both got their measure. So when they were glad, all under heaven was in accord with them, and when they were angry, the violent and the disorderly feared them. In the way of the former kings, ritual and music are what set its fullness straight, and Mozi condemns it.
So it is said: Mozi before the way is like a blind man before white and black, like a deaf man before the clear note and the muddy, like a man who wants to go to Chu and looks for it in the north.
Now sound and music enter men deeply and change them quickly, and so the former kings were careful in giving them their form. When music is balanced and even, the people are in harmony and do not run loose. When music is solemn and grave, the people are even and are not disordered. When the people are in harmony and even, the soldiers are strong and the walls are firm, and enemy states dare not touch them. When it is like this, none of the hundred families fail to be at ease where they live, to delight in their village, and to find their ruler enough. After that their name becomes bright and their splendor becomes great, and none of the people within the four seas fail to wish to take them for a teacher. This is the beginning of a true king.
When music is seductive and dangerous, the people run loose and grow idle and low and base. Running loose and idle, they fall into disorder. Low and base, they contend. Disordered and contending, the soldiers are weak and the walls are breached, and enemy states put them in danger. When it is like this, the hundred families are not at ease where they live, do not delight in their village, and do not find their ruler enough.
So when ritual and music are cast aside and crooked sounds rise up, this is the root of danger and of being cut down, of insult and disgrace. So the former kings valued ritual and music and held crooked sounds cheap. In the arraying of offices it says, "To put the laws and the commands in order, to look closely into punishment and reckoning, to forbid excessive sounds, and to follow and cultivate them in season, so that the crooked sounds of barbarian custom dare not disorder the Ya, this is the work of the grand music master."
Mozi said, "Music is what the sage kings condemned, and the Confucians make it. This is a fault." The gentleman holds that it is not so. Music is what the sage kings delighted in, and it can make the hearts of the people good. It moves men deeply. It shifts their ways and changes their customs. So the former kings led them with ritual and music, and the people were in harmony and at peace.
Now the people have the feelings of liking and disliking, and if there is no answering gladness and anger there is disorder. The former kings hated that disorder, and so they cultivated their conduct and set their music straight, and all under heaven followed.
So mourning garments and the sound of weeping make a man's heart sad. Wearing armor and putting on a helmet and singing in the ranks make a man's heart ache. Seductive looks and the tunes of Zheng and Wey make a man's heart run loose. The broad sash and the full robe and the ceremonial cap, dancing the Shao (韶) and singing the Wu (武), make a man's heart grave.
So the gentleman does not listen with his ear to excessive sounds, does not look with his eye on women's beauty, and does not let harsh words out of his mouth. In these three the gentleman is careful.
Whenever a wicked sound moves a man, a contrary air answers it, and when the contrary air takes shape, disorder is born. When a correct sound moves a man, a compliant air answers it, and when the compliant air takes shape, order is born. Call and answer meet each other, and good and bad take shape from one another. So the gentleman is careful about what he leaves and what he goes toward.
The gentleman leads his will with bell and drum, gladdens his heart with zither and lute, moves with shield and axe, adorns himself with feather and oxtail, and follows with chiming stone and pipe. So their clearness and brightness resemble heaven, their breadth and greatness resemble earth, and their bowing and looking up, their turning and circling, are like the four seasons.
So when music is practiced the will is clear, when ritual is cultivated conduct is complete, ear and eye are keen, blood and breath are calm, ways shift and customs change, all under heaven is at peace, and the beautiful and the good delight in each other.
So it is said that music is joy. The gentleman delights in getting his way, and the small man delights in getting what he craves. When craving is cut to the measure of the way, there is joy and no disorder. When the way is forgotten for craving, there is bewilderment and no joy. So music is the means of leading joy. Metal and stone and silk and bamboo are the means of leading virtue. When music is practiced, the people turn toward what is right.
So music is the fullness of governing men, and Mozi condemns it.
Moreover, music is that in harmony which cannot be altered, and ritual is that in principle which cannot be changed. Music joins what is the same, and ritual divides what is different. The cord of ritual and music governs the hearts of men. To exhaust the root and to reach every change is the feeling of music. To make the true plain and to put away the false is the constant of ritual.
Mozi condemned this and came near to meeting punishment. The bright kings are gone already, and there is no one to set it straight. When a fool learns from him, he puts his own body in danger. That the gentleman makes music clear is his very virtue. A disordered age hates the good and will not listen to this. Alas, how sad. It cannot be brought to completion. Let the disciples study hard and scheme after nothing in vain.
These are the shapes of sound and music. The drum is great and lovely. The bell gathers and is solid. The chiming stone is squared and measured. The reed organ and the mouth organ and the panpipes are in harmony. The pipe and the flute send out a fierce sound. The ocarina and the bamboo flute are full and broad. The lute is easy and kind. The zither is fair and good. Song is clear and complete. Dance in its meaning takes in the way of heaven.
The drum is surely the ruler of music. So the drum resembles heaven, the bell resembles earth, the chiming stone resembles water, and the reed organ and the mouth organ, the panpipes and the pipe and the flute resemble the stars and the sun and the moon. The tao and the zhu, the fu and the ge, the qiang and the jie resemble the ten thousand things.
How do we know the meaning of dance? The answer is this. The eye does not see itself and the ear does not hear itself. Yet in ordering the bowing and the looking up, the bending and the stretching, the advance and the retreat, the slow and the quick, there is nothing that is not squared and measured. They spend all the strength of sinew and bone to meet the measure where bell and drum bend and gather, and there is nothing out of order. How deep and steady is the will that the many have piled up.
吾觀於鄉，而知王道之易易也。主人親速賓及介，而衆賓皆從之，至于門外，主人拜賓及介而衆賓皆入，貴賤之義別矣。三揖至于階，三讓以賓升，拜至，獻酬，辭讓之節繁。及介省矣。至于衆賓，升受，坐祭，立飲，不酢而降。隆殺之義辨矣。工入，升歌三終，主人獻之；笙入三終，主人獻之；閒歌三終，合樂三終，工告樂備，遂出。二人揚觶，乃立司正焉。知其能和樂而不流也。賓酬主人，主人酬介，介酬衆賓，少長以齒，終於沃洗者焉。知其能弟長而無遺也。降，說屨，升坐，脩爵無數。飲酒之節，朝不廢朝，莫不廢夕。賓出，主人拜送，節文終遂焉。知其能安燕而不亂也。貴賤明，隆殺辨，和樂而不流，弟長而無遺，安燕而不亂：此五行者，足以正身安國矣。彼國安而天下安。故曰：吾觀於鄉，而知王道之易易也。
I looked at the village drinking rite, and I knew how easy and easy the way of a true king is.
The host himself calls the guest and the second guest, and all the other guests follow them. When they reach the outside of the gate, the host bows to the guest and to the second guest, and all the other guests come in. So the rightness of noble and base is divided.
They bow three times and come to the steps, and yield three times, and the guest goes up. The host bows that he has come, offers wine and returns the cup, and the measures of yielding are many. With the second guest they are fewer. With the other guests, they go up and receive the cup, sit and pour the offering, stand and drink, and go down without returning the cup. So the rightness of raising and lowering is made plain.
The musicians come in, go up, and sing three pieces to the end, and the host offers them wine. The mouth organs come in and play three pieces to the end, and the host offers them wine. Then come three alternating songs to the end and three joined pieces to the end, and the musicians announce that the music is complete and go out. Two men raise their cups, and then the sizheng (司正) is set up. From this we know that they can be in harmony and glad without running loose.
The guest returns the cup to the host, the host returns it to the second guest, and the second guest returns it to the other guests, young and old by their years, ending with the one who washes the cups. From this we know that they can keep younger and elder in order with no one left out.
They go down, take off their shoes, go up and sit, and pass the cup without counting. The measure of drinking is that in the morning it does not set aside the morning court, and in the evening it does not set aside the evening work. When the guest goes out, the host bows and sees him off, and the measures and their forms are brought to the end. From this we know that they can be at ease in their feasting and not fall into disorder.
Noble and base are plain, raising and lowering are made clear, they are in harmony and glad without running loose, they keep younger and elder in order with no one left out, and they are at ease in their feasting and do not fall into disorder. These five practices are enough to set the body straight and to bring a state peace. When that state is at peace, all under heaven is at peace. So it is said: I looked at the village drinking rite, and I knew how easy and easy the way of a true king is.
亂世之徵：其服組，其容婦，其俗淫，其志利，其行襍，其聲樂險，其文章匿而采，其養生無度，其送死瘠墨，賤禮義而貴勇力，貧則爲盜，富則爲賊。治世反是也。
These are the signs of a disordered age. Its clothes are gaudy. Its faces are like women's faces. Its customs run to excess. Its will is set on gain. Its conduct is mixed and confused. Its sounds and music are dangerous. Its patterns are hidden and showy. It nourishes the living without measure. It sends off the dead thin and bare. It holds ritual and rightness cheap and values daring and force. When men are poor they turn robber, and when they are rich they turn thief. An ordered age is the reverse of this.