Sound originally emerged from the chaos of heaven and earth, and subsequently emerged in the hearts of people. It is inspired by various external stimuli and subsequently expressed, thereby forming sound. Once sound takes on a specific form, it harmonizes with musical laws, and the five tones—Gong, Shang, Jiao, Zhi, and Yu—are harmoniously unified; this is what we call music. Music signifies joy. The sage harnesses the joyful hearts of the people, regulates it through the six musical principles, refines it with the five-note scale, sings it through the nine songs, and expresses it through the eight ceremonial dances. Music is a symbol of a peaceful and prosperous era and the cornerstone of virtuous governance. The "Book of Rites" asserts: "It is because of being moved by external things that it manifests as sound." Humans are born from the merging of the yin and yang energies of heaven and earth, and human temperament stems from this. If one allows their temperament to run unchecked, they risk losing their way and becoming trapped. Therefore, the Five Emperors established music, and the Three Kings established rituals to regulate human interactions and curb licentious behavior.
The power of music can move heaven and earth, invoke spirits and deities, honor ancestors, and foster harmony and stability within the nation. It can cultivate good customs, shape education, exhibit the virtues of wise rulers, illuminate achievements, awaken the emotions of all beings, and convey the will of the universe. If the rise and fall of music adheres to a pattern, musical scales like Gong and Shang can serve as exemplars. When rituals surpass their norms, it results in a blurring of respect and disrespect; when music loses its structure, it leads to a disorder of intimacy and distance. Rituals set their standards, and music soothes the heart, cultivates external respect and internal harmony, aligns with reason while embellishing the exterior, just as yin and yang must harmonize to nurture all things, and just as the sun and moon must illuminate to provide light.
The ancient books say: "A minister does not remove the musical instruments hanging when there is nothing to do, and a gentleman does not remove the qin and se when there is nothing to do." Sages create music to guide and resonate with the harmonious energy of heaven and earth, to dispel negative emotions and foster positive feelings. From the ancient Yiqi clan using reeds and bamboo pipes to make instruments for playing, to Fuxi using the songs of fishing nets, to the eight verses of Ge Tian and the five-stringed zither of Shennong, the emergence of these musical forms has been linked to significant achievements and has a long history.
The music of the Yellow Emperor is known as "Xianchi," while Emperor Ku's is "Liuying," Emperor Zhuangxu's is "Wujing," Emperor Yao's is "Dazhang," Emperor Shun's is "Xiaoshao," Yu's is "Daxia," Yin Tang's is "Huo," King Wu's is "Wu," and Duke of Zhou's is "Shao." These musical pieces educate the populace through poetry and promote values like filial piety and brotherly love, ensuring that grand rituals align with the natural seasons and harmonizing great music with the universe. The essence of rituals and the emotions conveyed through music nourish people's hearts like oil nourishes the flame. The "Book of Documents" states: "If there is a wise king, he will surely make the people benevolent after governing the world." During the reigns of King Cheng and King Kang, the world was peaceful, and laws were rarely enforced. In ancient times, when the Son of Heaven governed, ministers would present poetry. In the Qin Dynasty, such musical practices became rare.
During the time of Emperor Gaozu of Han, Shusun Tong established the musical compositions for ancestral temple sacrifices. Madam Tang Shan was skilled in the music of the Chu region and also created court music. Emperor Wu of Han organized the musical tones, stipulating the music for the sacrifices at the suburban temples, though it incorporated some folk tunes, making it not entirely refined music. During the reign of Emperor Ming of Han, music was divided into four categories: the first category is known as "Dayu Music," used for suburban temples and sacrifices to tombs; this reflects the idea that "the ancient kings created music to honor virtues, sincerely worshiping heaven, and sacrificing to ancestors," as mentioned in the Book of Changes. The second category is elegant music and celebratory music, used during the Piyong and archery ceremonies; this reflects the idea that "changing customs and habits, there is no better way than music," as mentioned in the Book of Filial Piety. The third category is the music of the Imperial Guard, used at the emperor's banquets for his ministers; this echoes the sentiment that "the drumbeats inspire me, dancing joyfully makes me happy," as mentioned in the Book of Songs. The fourth category is short flute and cymbal music, used in the military; this was developed by Qibo in the era of the Yellow Emperor, intended to establish military prowess, promote virtue, and boost morale, echoing the idea that "when the army achieves a great victory, they should play victory songs," as mentioned in the Book of Rites.
Some poems and praises by the officials were selected to be sung during sacrificial ceremonies held on auspicious days in October. When Dong Zhuo rebelled, authentic music vanished. Du Kui, a musician from the Han dynasty, was proficient in music and well-versed in the eight tones and seven beginnings. When Emperor Wu of Wei pacified Jingzhou, he obtained Du Kui and had him organize the melodies of the elegant music. The ancient music of the Wei dynasty originated with Du Kui. From the Wei dynasty to the Jin dynasty, music continued to be passed down until the Yongjia Rebellion, when music came under the influence of the Hu and Jie. Consequently, musicians migrated south; Emperor Mu collected bells and chimes, Fu Jian suffered defeat in the north, and Emperor Xiao Wu obtained the songs for the ceremonies. The Jin dynasty did not prioritize music, whereas the Wei dynasty sought dominance. Emperor Dao Wu conquered Zhongshan, and Emperor Tai Wu pacified Tongwan. At times, they acquired court musical instruments, and at other times, ancient music, but during tense times, elegant music was put aside. Emperor Xiao Wen loved poetry, using it to inspire the officials in office, while folk songs circulated and blended into the melodies. Ministers widely referenced the music of the Han, Wei, as well as the Song and Qi dynasties, and after achieving success, each generation produced new creations.
Everyone performed music and dance in their temples, composing their own songs for the sacrificial ceremonies to promote their merits, which shone for a time, but the impact on changing customs gradually diminished. Emperor Wu of Liang, originally a well-educated scholar, thought about cultural development even before ascending the throne, so he ordered everyone to share their knowledge.
Emperor Taizu of Zhou rose from the Guanzhong region and personally appeased the Rong and Di tribes. When the ministers wanted to hold a musical celebration for their victories, they followed the old practices of the Zhou dynasty, allocating musicians based on the types of instruments and composing music according to the established laws. As a result, the music performed included pieces like "Xia Wu," which was not a simple tune sung by concubines, but rather music that resonated with the Xianbei people, filled with genuine emotion that stirred the listeners.
Think about how Confucius returned to the State of Lu, that allowed refined and elegant music to flourish once more. This shows that good music needs the right era to thrive. Liu Bang established the Han Dynasty, unifying the nation, but the craftsmanship of musical instruments was primarily learned from the northern ethnic minorities, and the music used in sacrifices also incorporated melodies from the border regions. Later, Yan Hui, He Yan, and others suggested performing refined music. Although some refined music did emerge, it still fell short compared to the "Shao" music.
When it comes to the principles of "Ernan" and the seasonal rhythms of "Bafeng," the order and content of these pieces of music are quite meticulous, and lascivious music has been discarded. The five tones of Gong, Shang, Jiao, Zhi, and Yu are in harmony, the music and dance are beautiful, promoting the way of benevolence and righteousness, stabilizing people's lives, encouraging gentlemen to be more sincere, and preventing the petty from regretting their actions. This is the true masterpiece! Therefore, when Emperor Shun sang "Nanfeng" to praise the harvest, the Yu Dynasty flourished; while when King Zhou sang the lascivious tunes of the north, the Shang Dynasty perished. Good music brings order, and the country can remain stable. That is why I have recorded these different types of music for future reference. The "Zhou Guan" records that there were 1,339 people in the Grand Music Department; during the Han Dynasty, there were 380 people for the sacrificial music and martial music.
Emperor Yang of Sui was particularly extravagant and had a penchant for lascivious music. The Grand Minister of Justice, Pei Yun, recognized his intentions and suggested that the sons of musicians from the Zhou, Qi, Liang, and Chen dynasties, as well as those skilled in music from the common folk, totaling more than three hundred people, be placed under the management of the Taiyue Office. A variety of musicians came together. The mournful new sounds of wind instruments and lascivious string music were all old tunes from the Ye City area, which is from the Northern Qi.
When the Liang Dynasty was established, music still followed the traditions of the Qi Dynasty. Emperor Wu wanted to restore ancient music. In the first year of the Tianjian era, he issued a decree asking the officials, saying, "The principles of music are interconnected with politics, as it can transform customs and highlight social distinctions. However, although the names of pieces like 'Shao' and 'Huo' are still known, the specific musical scores have been lost. Since the Wei and Jin periods, music has been in decline. Elegant music and Zheng sound have become muddled, and the musical instruments have also fallen into disrepair. The nine variations of harmony between heaven and earth have been forgotten, and the four ceremonial rites of the morning banquets have also vanished. Every day, I sit early in court, thinking about restoring this music, but the old records no longer exist, making it impossible to reconstruct. I have long been troubled by this and often find myself sighing. You learned ministers, please share your insights."
Wang Ding, the Minister of Internal Affairs, submitted a response saying: "I believe that the fall of the Qin Dynasty caused a decline in scholarship, and the 'Book of Music' is similarly incomplete. By the time of Emperor Wu of Han, King Xian of Hejian and Mao Heng, among others, collectively gathered records on music from the 'Rites of Zhou' and various schools of thought, compiling the 'Records of Music.' Wang Ding taught the 'Records of Music' to King Liu Yu of Changshan. While proofreading the texts, Liu Xiang discovered twenty-three chapters of the 'Records of Music' that differed from Liu Yu's version. Liu Xiang's 'Separate Record' contains four pieces of 'Music Songs,' seven pieces of 'Zhao's Elegant Qins,' eight pieces of 'Shi's Elegant Qins,' and one hundred sixty pieces of 'Long's Elegant Qins.' That is all that remains. The 'Jin Dynasty Records' no longer include any references to music, and most of what is recorded in the 'Separate Record' has also been lost. The statutes and systems from the early Han have disappeared, and Confucian scholars had to search for fragmented texts in ditches and on walls, finding some excerpts related to rituals, which they compiled into ritual classics, none of which were spoken by the sages themselves. The 'Monthly Ordinances' are derived from the 'Lu's Spring and Autumn,' while the 'Doctrine of the Mean,' 'Record of the Manifest,' 'Record of the Guard,' and 'Record of the Black Robe' are all derived from the 'Zi Si Zi.' The 'Record of Music' is taken from the 'Gongsun Ni Zi,' and the 'Tan Bow' is incomplete and not a formal document of statutes. Rituals are an important aspect of self-cultivation and governance, so the Confucian scholars of old had to repair and improve it to meet practical needs. However, the subject of music is significant, and its implementation is relatively slow; it wouldn't be taken seriously unless there were a wise monarch or capable ruler. Since the Han Dynasty, the rulers have not been wise, and music has not been an urgent matter for the ministers, so few have discussed it. Your Majesty possesses the highest virtue and should respond to Heaven's intention to promote music. It is indeed necessary to create music to promote virtue and make offerings to Heaven and Earth. However, the music texts have been lost, and there is no basis to search for them. Scholars should be appointed to investigate the classics and histories, and any records related to music, no matter how small, should be documented separately. Then, a knowledgeable individual should be tasked with compiling a music book, restoring the musical scores lost over the millennia, and establishing the music system of Daliang, so that pieces like 'Five Heroes' and 'Six Stems' will be shamed."
No Simplified Chinese text has been provided for translation.
At that time, 78 musical groups came to perform. They all just talked superficially, boasting grandly about how music ought to be changed, yet they didn't mention how to change it at all. The emperor was already well-versed in music theory and was familiar with the earlier musical principles, so he personally established a new system of ritual music. He even went so far as to create four musical instruments known as "Tong."
The sound-receiving part of each "Tong" measures nine inches in width, while the sound-producing part measures nine feet in length, and it is one foot and two inches high. Each "Tong" has three strings. The first one is called "Xuan Ying Tong," and its strings are: the Ying Zhong string, composed of 142 strands, approximately 4 feet 7.4 inches long; the Huang Zhong string, composed of 270 strands, 9 feet long; and the Da Lü string, composed of 252 strands, approximately 8 feet 4.3 inches long. The second one is called "Qing Yang Tong," and its strings are: the Tai Cu string, composed of 240 strands, 8 feet long; the Jia Zhong string, composed of 244 strands, approximately 7 feet 5 inches long; and the Gu Xiao string, composed of 214 strands, approximately 7 feet 1.1 inches long.
The third one is called "Zhu Ming Tong," and its strings are: the Zhong Lü string, composed of 199 strands, approximately 6 feet 6.6 inches long; the Rui Bin string, composed of 189 strands, approximately 6 feet 3.2 inches long; and the Lin Zhong string, composed of 180 strands, 6 feet long. The fourth one is called "Bai Cang Tong," and its strings are: the Yi Ze string, composed of 168 strands, approximately 5 feet 6.2 inches long; the Nan Lü string, composed of 160 strands, slightly more than 5 feet 3.2 inches; and the Wu She string, composed of 149 strands, approximately 4 feet 9.9 inches long.
The sounds emitted by these "tong" instruments are used to calculate the musical scale of each month without any deviation and in perfect harmony. He also made twelve flutes: The Huangzhong flute measures 3 feet 8 inches, the Dalü flute measures 3 feet 6 inches, the Taicu flute measures 3 feet 4 inches, the Jiading flute measures 3 feet 2 inches, the Guxi flute measures 3 feet 1 inch, the Zhonglü flute measures 2 feet 9 inches, the Ruibin flute measures 2 feet 8 inches, the Linzhong flute measures 2 feet 7 inches, the Yize flute measures 2 feet 6 inches, the Nanlü flute measures 2 feet 5 inches, the Wushedu flute measures 2 feet 4 inches, and the Yingzhong flute measures 2 feet 3 inches. The tones produced by these flutes are completely consistent with the ancient bells, jade music, and ancient bells of the Zhou Dynasty, with no discrepancies. In this way, the eight tones and seven musical scales are harmoniously unified. At that time, Sima Hetong, the Commander of the Northern Central Army, submitted a memorial saying: "According to the records of the Zhou Li: 'The Son of Heaven plays the music of 'Wang Xia' when entering and leaving, the sacrificial corpse plays the music of 'Si Xia' when entering and leaving, and the sacrificial livestock plays the music of 'Zhao Xia' when entering and leaving.' Now the music of 'Xia' in the music office has merely changed 'Wang Xia' to 'Huang Xia'; this change is due to the fact that since the Qin and Han dynasties, emperors have been referred to as 'Huang.' However, the Qi family has adhered to the rituals of the Song Dynasty, playing 'Zhao Xia' when welcoming the gods, 'Yongzhi' when the emperor enters and leaves, and playing music to welcome the sacrificial livestock. This is simply chaotic and incorrect! I request the Ministry of Rites to correct this."
Zhou She also participated in the discussion, saying: "The 'Zhou Li' states that 'when the Son of Heaven enters, he presents the 'Wang Xia''; the music used for large sacrifices and court meetings are the same. However, during the Han Dynasty, the system required the emperor to play 'Yong Zhi' music in the temple, while for court meetings, there was another piece called 'Huang Xia'. These two types of music are different and do not conform to the rites; 'Yong Zhi' should be abolished, and 'Huang Xia' should be restored. Furthermore, the 'Zhou Li' states, 'when the corpse enters and exits, the 'Si Xia' is played; guests enter the main gate and play the 'Si Xia''; this pertains to the rituals between humans and the divine, and the welcoming music for sacrificial animals should not be misused. By the end of the Song Dynasty, the rituals went astray, completely discarding the old system, and when deities entered the temple, they even played 'Zhao Xia', using music meant for sacrificial animals to welcome the ancestral spirits. These are serious mistakes of previous dynasties, and they should be corrected now."
Everyone discussed further, saying that the 'Zhou Li' mentions: "When the music reaches the six changes, the heavenly gods will descend." The deities reside high in the heavens, coming and going unpredictably; their descent is natural and does not require a welcome. Therefore, the welcoming of deities should be reinterpreted as their descent, while the sending off of deities can follow the original ceremony. It was also mentioned that the 'Zhou Li' states: "When the music reaches the eight changes, the earth deities will emerge, and sacrifices can be conducted." The sacrifices to the earth deities should still follow the welcoming ceremony. Everyone agreed with these opinions.
Additionally, the music and dance setup in the Ming Hall is generally similar to that of sacrifices performed in the southern outskirts, only differing in the names of the altar and hall, and lacking the burning altar. The Ming Hall sacrifices should sing the praises of the Five Emperors, while everything else is the same as the outskirts' sacrificial rituals.
It is said that during the Song and Qi dynasties, the sacrifices to heaven and earth and the ancestral temple followed the Han Dynasty's practices for sacrificing to Tai Yi and Hou Tu, using palace-suspended music and dance. The Minister of Rites, Ren Fang, also referenced Wang Su's opinion: "The 'Zhou Guan' records: 'Using the six pitches, five tones, eight sounds, and six dances of grand music to summon the ghosts and deities, ensuring harmony in the state, peace for the people, satisfaction for the guests, and joy for those coming from afar.' This concept is known as 'Six Harmonies,' which should be performed simultaneously. Now, the six dances are used separately, which is not acceptable, as it will leave everyone feeling unsatisfied."
Therefore, following Wang Su's opinion, during the sacrificial rites at the suburban and ancestral temples, the music and dance from the Six Dynasties were employed. However, the emperor said, "Although the 'Zhou Guan' distinguishes music for different sacrifices, the 'Shang Shu · Yu Shu' only records the use of two forms of suspended music and dance. Upon reviewing ancient texts, there is no record of palace suspended music being used at all. Why is that? Because serving people must be ceremonious, while serving the gods should be simple. The Son of Heaven wears the ceremonial robes; even the most respectful rituals cannot be complicated. Looking at all things under heaven, there is nothing that can match the virtue of the Son of Heaven, so the simpler, the better it is. The so-called grand harmony in music simply involves coordinating the six tones and five sounds, and aligning the eight tones with various dance rhythms; it does not mean that sacrifices to gods and spirits must use the music of the Six Dynasties! Later on, it is stated that 'the arrangement of music is for sacrifices and feasts,' which clarifies that Wang Su misunderstood.
Upon reviewing historical texts, there is no record of using the music and dance of the Six Dynasties for suburban and ancestral sacrifices. The 'Mingtang Wei' records only: 'When sacrificing to Duke Zhou at the Grand Ancestral Temple, wear the ceremonial robes of red and jade, and perform the "Da Wu" dance; wear the plain ceremonial robes and perform the "Da Xia" dance. Including the music and dance of the barbarians in the Grand Ancestral Temple shows the intent to broadly disseminate education across the realm.' The most important aspect of sacrifices is respect; the music should not be complicated, and the rituals should remain straightforward. Therefore, the Ji family's sacrificial rites ended at midnight, and they still had to light candles, with the person responsible for the sacrifice swaying unsteadily, which was extremely disrespectful! One day during a sacrificial rite, Zi Lu also took part, starting at dawn and concluding only at the morning court. When Confucius heard about it, he said, 'Who says Zi Lu does not understand rituals?' If we were to follow Wang Su's opinion, the suburban sacrifice would involve welcoming and sending off with music and dance, as well as ascending songs to separately praise merits; if the music and dance of the Six Dynasties were used throughout, plus the music and dance for entering and exiting, by the time the music and dance concluded, it would be far too late! This contradicts Confucius's praise for Zi Lu finishing the sacrificial rites at dawn!"
Therefore, suspended gongs are no longer used, and only the necessary music and dance will be used. If suspended gongs are to be used, it should not be Gong suspended, Xuan suspended, Pan suspended, or special suspended, but should be done in the most respectful manner. The music and dance for welcoming and sending off at ancestral shrines have been simplified, because that is where the spirits reside. During the Yongming period of the Qi dynasty, the dancers wore hats with pens inserted. The emperor said, "Pens and tablets are for recording and receiving instructions; they are not needed for dancing. Why insert a pen? Would anyone wear court attire but wear banquet shoes to dance?" So the pens were removed. From the Jin Dynasty to the Song Dynasty and Qi Dynasty, the suspended bells and chimes were similar in size and dimensions, all with sixteen sets. The instruments in the Huangzhong Palace were arranged as follows: facing north, the Bian chimes were arranged on the west side, the Bian bells on the east side, and the Heng bell on the east side was larger than the Lü bell, which was also present on the east. The instruments in the Taicu Palace were arranged facing east, with the Bian chimes placed on the north side. The instruments in the Ruibin Palace were arranged facing south, with the Bian chimes on the east side. The instruments in the Guxi Palace were arranged facing west, with the Bian chimes on the south side. The arrangement of other palace instruments was similar to those facing north. Drums were placed in the four corners, with a set hanging on each wall, each set containing a Zhu and a Zhu. The emperor said, "Consulting historical documents from the Jin and Song dynasties, historical records indicate that by the fourth year of Taiyuan and Yuanjia, the palace instruments were already very complete. But now, looking at the records of the Yuelu, there are only four tones of Huangzhong, Guxi, Ruibin, and Taicu, with six notes missing. How can it be said that the instruments are complete? What exactly do those articles that record complete instruments mean?" So, the emperor ordered the removal of the Heng bell and the introduction of twelve Lü bells, each arranged according to the positions of the twelve Earthly Branches, corresponding to the respective musical tones. Each Lü bell was accompanied by a set of Bian bells and a set of Bian chimes, totaling thirty-six sets. Drums were placed in the four corners, and these instruments were used during the grand court assembly on New Year's Day.
Okay, let's translate this ancient text into modern spoken Chinese. First, we need to redefine the music for rituals for outdoor sacrifices, ancestral temple rituals, and court ceremonies. For martial dances, we will use "Great Strength Dance," which is derived from the Book of Changes, meaning that this dance is grand and can embody the spirit between heaven and earth. For civil dances, we will use "Great Observation Dance," also from the Book of Changes, meaning that this dance can display the laws of the heavens and the distinct seasons, without fail. Our country's music is all named with the term "elegant," which means, as mentioned in the preface of the Book of Songs: "It tells of important matters of the world, reflects the customs of various regions, this is known as elegant music. Elegant means correct." There are a total of twelve pieces of music, which is in line with the number of days. Then, we have eliminated the previous cluttered ceremonial music and added some more refined and elegant pieces of music.
When officials enter and exit the palace, the "Rituals" from the third year of the Song Yuanhui stipulated that the music played was "Suxian," which was also used in the early dynasties of Qi and Liang. It has now been changed to "Junyi," a name derived from the "Book of Rites," which refers to the selection of outstanding talents, stating, "The Minister of Education selects the outstanding among the scholars and promotes them to learning, called Junshi." This set of "Junyi" is used during suburban sacrifices, at the Grand Ancestral Temple, and at court ceremonies. When the emperor enters and exits the palace, it was previously stipulated in the "Daily Records" from the second autumn of the Song Xiaojian that the music played was "Yongzhi," which was also used in the early dynasties of Qi and Liang. It has now been changed to "Huangya," a name derived from the "Book of Songs," which states, "O Emperor, Supreme Deity, may Your presence be glorious," meaning that this music is solemn and sacred, reflecting the majesty of imperial power. This set of "Huangya" is used during suburban sacrifices and at the Grand Ancestral Temple. When the crown prince enters and exits the palace, the music played is "Yinya," a name derived from the "Book of Songs," which states, "May the noble man last for ten thousand years, bestowing prosperity upon you," symbolizing the prosperity of descendants. When princes and high officials enter and exit the palace, the music played is "Yinya," a name derived from the "Book of Documents" and "Zhouguan," which states, "The two ministers promote culture and illuminate heaven and earth," meaning that princes and high officials should assist the emperor in governing the country well. When the emperor celebrates his birthday, the music for this occasion is "Jieya," a name derived from the "Book of Songs," which states, "May the noble man last for ten thousand years, may you enjoy great blessings," wishing the emperor a long life and great happiness. During meals, the music for this occasion is "Xuya," a name derived from the "Book of Changes," which states, "Clouds rise to the sky, Xu, the noble man enjoys food and festivities," meaning that meals should be light-hearted and enjoyable. When meals are cleared, the music for this occasion is "Yongya," a name derived from the "Book of Rites," which states, "The great feast ends with 'Yong'." This set of "Yongya" is used during court ceremonies.
When livestock enters the venue, it had been previously stipulated in the "Ritual Notes" of the second year of the Song Yuanhui that music should be played for "Leading the Animals," a practice also used in the early Qi and Liang dynasties. Now we have changed it to "Purifying Elegance," a name derived from the "Book of Rites" stating, "The emperor's cattle must be purified for three months," which means the sacrificial livestock must be well-prepared. When offering the fur and blood of the sacrificial items, it had been previously stipulated in the "Ritual Notes" of the third year of the Song Yuanhui that music should be played for "Celebratory Offering," a practice also used in the early Qi and Liang dynasties. Now we have changed it to "Fattened Elegance," a name derived from the "Zuo Zhuan" stating, "The sacrificial livestock must be fat and plump," meaning that the livestock used for sacrifices should be robust. The "Fattened Elegance" set is used in the northern suburbs, Ming Hall, and the Grand Ancestral Temple. During the sacrifices, during the welcoming and sending off of the deities, it had been previously stipulated in the "Ritual Notes" of the third year of the Song Yuanhui that music should be played for "Illuminating Summer," a practice also used in the early Qi and Liang dynasties. Now we have changed it to "Sincere Elegance," a name derived from the "Book of Documents" stating, "Sincerity moves the gods," meaning that sacrifices must be made with genuine sincerity. When the emperor drinks the blessing wine, it had been previously stipulated in the "Ritual Notes" of the third year of the Song Yuanhui that music should be played for "Celebratory Blessing," which was continued in the Qi dynasty and changed to "Eternal Blessing" in the early Liang dynasty. Now we have changed it to "Offering Elegance," a name derived from the "Book of Rites: Sacrificial Protocol" stating, "The corpse drinks five, the lord washes the jade goblet to offer to the minister," meaning that this blessing wine is an offering from the emperor to the deities. This set of "Offering Elegance" is used in the northern suburbs, Ming Hall, and the Grand Ancestral Temple. When lighting the firewood, it had been previously stipulated in the "Ritual Notes" of the third year of the Song Yuanhui that music should be played for "Illuminating Distance," which was continued in the Qi and Liang dynasties. When burying the sacrificial items, it was stipulated in the "Ritual Notes" of the sixth year of Qi Yongming that music should be played for "Subdued Depths." Now, when lighting the firewood and burying the sacrificial items, we play "Offering Elegance," a name derived from the "Rites of Zhou: Grand Ancestor Minister" stating, "Use offerings to worship the Supreme Deity in Heaven," meaning that this is the music for honoring the heavens. All the lyrics for these musical pieces were written by Shen Yue. Now, I will list the thirty songs below.
First, we must assign the roles of each department before we can find suitable talents to take on these roles. Who are these individuals? They are, of course, those with noble character and extensive qualifications. Officials in the Tang Dynasty were diligent and responsible, while the Zhou Dynasty was particularly abundant in talent. Our humble state of Wei also requires such exemplary gentlemen for support. The prosperity of the Han Dynasty was due to their selection of the right individuals, which allowed for effective governance of the country.
Next, let us take a look at this grand scene: eight palaces open their doors wide, and the nine-tiered palace towers stand majestically. The officials wear jade ornaments and sashes, dressed impeccably, radiating authority. The emperor, clad in ceremonial robes, walks at the front, followed closely by the ministers, surrounded like a swirling mist. Their actions adhere to the rites, and their accomplishments merit praise. The ranks are orderly, and everyone can practice respect and humility.
The court officials are lined up in the north, arranged on different steps. Each official performs their duties, and the nine guests pay their respects according to the rituals. The states of Qi and Song share a nephew-uncle relationship, while the states of Lu and Wei are brotherly nations. The emperor is radiant, and the ministers are spirited, creating a scene of harmony. We guests are all humble and friendly.
"The Royal Elegance," three verses, five characters:
The emperor's virtues are widely known, and nations across the world submit to him. He meets the lords in his ceremonial attire and wears a crown to worship the deities. Ambassadors from all directions come and go, with countless nations coming to pay their respects and express goodwill.
The canopy of the imperial palace shrouds the Purple Star, while the Hook Star revolves around the Supreme One Star. The officials wear splendid robes embroidered with colorful patterns, vivid and resplendent. The stars twinkle with brilliance, and the celestial phenomena are peaceful and serene.
The emperor rides in his chariot to inspect the realm, dressed in ceremonial attire as he arrives at the Zhengyang Gate. He wears a belt made of blue silk and a robe embroidered with golden thread, with exquisite patterns on his ceremonial robe. These splendid garments not only display royal opulence but also symbolize brilliance and eternity.
"The Elegance of the Emperor's Heir," one verse, four characters:
Since ancient times, many wise kings have appeared during the Yin and Shang periods. During the reign of King Cheng of the Zhou dynasty, he focused on preserving the achievements. Heaven favored the Zhou dynasty, allowing it to prosper. King Cheng of Zhou was upright and inherited the achievements of his predecessors. He took the Heavenly Emperor as a role model and diligently governed the country. He appointed wise ministers and good generals, placing them in their respective roles. The North Star shines brightly, symbolizing the Zhou dynasty's enduring prosperity.
"In Ya," a song, in three lines:
Etiquette must be upheld as the music plays. Inviting the vassals to pay their respects to the emperor. Officials stand in neat rows, respectfully. The emperor wears ceremonial robes, dignified and majestic. Promotions and demotions take place in an orderly manner. The officials wear crowns, forgetting to smile. It begins solemnly but ends with toasts and revelry.
"Jie Ya," three songs, in five lines:
A hundred blessings symbolize the beginning of the Four Symbols; ten thousand years symbolize the start of the Three Elements. The ministers present the emperor with ceremonial robes, expressing their united efforts. The North Star always shines; the Southern Mountain cannot compare.
The grand ceremonies for the birthday celebrations are even more splendid than those of the three dynasties. The emperor gathers many blessings; the auspicious atmosphere continues. The emperor's grace is endless; a bountiful harvest will surely come.
As for this feast, the abundance of dishes and the sweetness of the drinks are truly exceptional. "With all flavors combined, none can compare to the six drinks. The jade cups are clear, and the golden goblets are swaying." The contents of these cups are crystal clear and invigorating. As we toast, wishing for auspiciousness to spread throughout the world, "Raise your cup to send blessings to heaven, and may auspiciousness flow abundantly."
Next, the musician played the eight pieces of "Xu Ya," each with seven words; the melodies were enchanting, painting a picture of the banquet: "A harmonious balance enhances the flavors, various delicacies are precious. Boiling pots and tripods create a symphony of flavors, Chu, Gui, Hu, salt, and fragrant herbs. Dishes are presented in a colorful array." Various delicacies, a visual feast, each with its own cooking method, fragrant and mouthwatering. "Five tastes, nine variations, and six harmonies, making the taste rich and varied. Dew from the Three Peaks, nine periods of rice, round tables and square feet, sparkling brilliantly. The music is the same as the mountains and rivers." The taste of these dishes is varied, harmonious, sparkling like stars in the night sky; this grand banquet also symbolizes the nation's prosperity and the people's happiness. "The fertile lands of the Nine Provinces are diverse, rare herbs, verdant trees, and longevity wood. Gathering them all day without filling one's hands, using them to balance out strong flavors and blend nine grains. Sweet and savory, bestowing great blessings." The table full of delicacies comes from all over the country; the best ingredients, like Lingzhi and verdant trees, are precious. Even if they are picked all day, it is difficult to collect them all, but they can harmonize various flavors and bring supreme happiness. "The quest for exquisite flavors is a universal desire; harmony and respect are the essence of the feast. Green scales and red tails offer delicacies, red fur and green wings fall lightly. Ministers bow in gratitude for many years to come." People's pursuit of delicious food is human nature, and this banquet also reflects the harmony between the ruler and his subjects; a variety of rare birds and animals add splendor to the feast, and ministers bow down in gratitude, hoping that this prosperous era will last forever.
"Ringing the bell to await the great nation, especially the divine flow of virtue. Presenting food and elevating the grandeur, its rites are not in error and its ceremonies are not incorrect. The influence of the wind is deep and pervasive." This grand banquet also showcases the demeanor of a great nation, with the Son of Heaven's benevolence benefiting the world. The etiquette of the banquet is ceremonial and solemn, and this scene of prosperity will be passed down for a long time. "The chefs diligently present fragrant dishes, neither musk nor spoilage, all served at the right moment. Balancing sweetness and bitterness, distinct yet harmonious, their dedication remains unwavering and brings blessings. Herein lies eternal joy without end." The chefs fulfill their duties responsibly, serving delicious dishes with proper seasoning, ensuring the flavors are just right; this era of peace will continue forever. "Preparing the flavors for this feast is reserved for the most sacred, as all descend in reverence for the grandeur. Some songs flow with elegance, carrying the cauldron, fulfilling the royal decree. Across the vast seas, we celebrate together." Such a grand banquet can only be hosted by the most wise and enlightened ruler, where both gods and humans celebrate, and the songs resonate; this scene of prosperity also signifies that the nation will thrive further, and the world will share in the peace and prosperity. "With six ears of grain and eight delicacies, the great cauldron cooks without laboring for firewood. The treasures of the sea must be presented, smooth and sweet, cleansing and harmonizing with the spirit. Through this supreme virtue, it spreads boundlessly." At this banquet, delicacies are abundant, as if divine blessings have descended; with the Son of Heaven's benevolence benefiting the world, this era of peace will endure forever.
Finally, the musicians performed three pieces of 'Elegance' music, each consisting of four characters, with a gentle rhythm, expressing a summary of the end of the banquet: "Clearly above, its ceremony in order. The ceremony concludes without fault, and the utensils are removed. As the music rises and falls, harmony is present. Heaven's virtue is unassailable, and human intentions are in harmony. With respectful conduct, the banquet is now addressed." The emperor is above, everything is in perfect order; the banquet ends, all rituals are flawless, the ruler and his subjects are harmonious, and the world is at peace. "My offerings are plentiful, and my feast is bountiful. The flavors are rich, and the food is exquisite. No one is dissatisfied; harmony is in the imperial. The earth is happy, anticipating life. Steamed grains, all from benevolence and forgiveness." The abundant offerings and delicious dishes satisfy people's appetites; the atmosphere of the banquet is warm and harmonious, and the people live and work in peace, all because of the emperor's benevolence. Officials stand in line; the emperor is in the palace. After eating and drinking their fill, the sacrificial ceremony is complete. The emperor appears solemn, and the ceremony is both grand and orderly. All officials are pleased. The blessings of all nations are a divine gift. "'Purification,' a four-character poem: A grand sacrifice is imminent, and the ceremony is truly magnificent. The sumptuous offerings are displayed at the national gate. There are no errors or prohibitions. The offering body forever symbolizes this ritual. We pray for heaven to bless the emperor's benevolence, looking up to heaven to bless our aspirations. A multitude of blessings descends, accompanied by auspicious signs. The spirited horses gallop, heralding the auspiciousness that will be passed down to future generations." "Taming," a four-character poem:
Return to fundamentals, nurture a spirit of reverence; trace back to ancient customs, demonstrate sincerity. The ritual of sacrifice has long been properly prepared, and the sacrificial ceremony is conducted in an orderly manner. Exquisite sacrificial vessels await their offerings, tall steles, and splendid sacrificial animals. Abundant offerings, officials in neat attire. The sacrificial meat has been prepared, and our vessels are also filled. The chefs are skilled, and the music is just right. A great deal of fortune gathers here; a beautiful scene and fortune arrive simultaneously.
"Cheng Ya," a three-character poem: (Used for descending the spirits in the southern suburbs)
A little anxious in the heart, looking up at the vast universe. Striving to keep pure, offering sincere wishes. Blessings descend from the netherworld. The emperor looks solemn, officials look up. The grand sacrificial ceremony on earth, the path of the spirits is unobstructed. Bright spirits accept our offerings. Touching the heavens and bridging the mysteries of the universe.
"Cheng Ya," a three-character poem: (Used for welcoming the spirits in the northern suburbs)
The earth's virtue is boundless; Kunlun Mountain soars into the clouds. As we raise the feathers, the drums respond. Welcoming the noble spirits, showing sincerity and righteousness. Welcoming the spirits of the sea and mountains, arrayed to guard the mountains. Only blessings will be shown to ascend.
"Cheng Ya," a four-character poem: (Used for sending off the spirits in the southern and northern suburbs, Mingtang, and Taimei together)
We hold sincere virtues; the offerings include more than just millet and rice. Jade objects and offerings are all ready, a wide array of exquisite offerings. Gold ornaments are already arranged, harmonious music plays. The sacrificial ritual reaches the netherworld, respectfully performing the rites of sacrifice. The sounds of drums and bells send the spirits off; great blessings follow.
"Xian Ya," a four-character poem:
The divine palace stands solemn and majestic; the signs in the heavens are auspicious. The sacrifice has been completed, accepting this beautiful fortune. With sincere and radiant intentions, we are not ashamed of the historians' records and prayers.
"Yin Ya," a four-character poem: (Used for burning incense)
The Purple Palace is magnificent, the Supreme One is mysterious. The emperor descends to the human world, honoring the heavens. Jade discs are placed for sacrifice, and offerings are fully prepared. Clouds float high and ethereal, sacrificial vessels are suspended high. Overlooking all things, looking up at the blue smoke. Respectfully offering good wishes, sincerely paying homage to heaven and earth.
"Yin Ya," a four-character poem: In essence, a grand sacrificial ceremony is held, harmonious music, coordinated tones. The deities enjoy the offerings, the festive atmosphere is joyful, blessings accumulate, and society is peaceful. Eight types of music are played in succession, and three sacrifices have concluded. The offerings are buried, gratitude is given to the divine, and merits are repaid. The music flows melodiously, as if carried by the wind. Sacrifice is not a mere formality, but a means to connect with the divine. The great emperor embodies virtue; this prosperous era stands tall like Mount Huashan.
In ordinary sacrifices, after presenting vegetables, other refined music is played, and the emperor orders Xiao Ziyun to compose lyrics. As there are no livestock sacrifices, "Di Ya" and "Qin Ya" are omitted. In the southern suburb sacrifices, Huangzhong music is played, signifying the emergence of Yang energy. In the northern suburb sacrifices, Linzhong music is played, signifying the emergence of Yin energy. In the Ming Hall and ancestral temples, the utmost importance lies in respect; "Rui Bin" is the name of respect, also implying the lord of Yin, thus, both are performed together. The sacrificial rites of the southern and northern suburbs, the Ming Hall, and the ancestral temples all include singing. Eighteen songs and poems are now listed.
In the southern suburbs, the emperor made his first sacrifice, playing the ascending song, with two three-character poems: The sun has risen, and the sacrificial ceremony is complete. Only the sacred ancestors can command the heavens. The offerings have been presented, and the wine vessels are full. The music and dance have come to a halt, and the singing has begun. It seems as if the divine is right before us, expressing the emperor's devout heart. The sacrificial ceremony is grand, with the wine vessels arranged neatly. Black wine is displayed, and ceramic wine vessels are set out. Fresh offerings are presented, expressing sincerity and purity. The emperor has ascended the throne, and the music has ceased. Heaven bestows grace, and the emperor's virtues will be remembered for generations.
In the northern suburbs, the emperor made his first sacrifice, playing the ascending song, with two four-character poems: The square altar has been dug, and the earth deity has appeared. The grand ceremony has no mistakes, and everyone's expectations have been met. The emperor took his seat to offer sacrifices, respectfully completing the ritual. The arrival of the deities came without warning, and the deities enjoyed the offerings, creating a peaceful and serene atmosphere. Indeed, there are beautiful blessings, rising like the sun. Mother Earth is the true bearer of all creation. Personally conducting the sacrifice, sincerely communicating between yin and yang. Whether ascending or descending, the jewels and ornaments sway. Virtue influences all things, celebrating the legacy of the dynasty. The pure and abundant blessings are uninterrupted, and auspicious fortune is granted.
In the ancestral temple, the emperor made his first sacrifice, playing the ascending song, with seven four-character poems: (Here, the seven four-character poems of the ancestral temple are omitted.)
Wow, what a grand affair! With great achievements and complete rituals, all kinds of sacrificial supplies are prepared, and all the officials are present. Everyone is sincere, even the heavens and earth, and the spirits feel it. The common people, regardless of their numbers, can see their wishes come true; this scene is as expansive as the sky and as embracing as the earth.
This sacrificial rite has been observed since the Yin Dynasty, all the way to King Wen of the Zhou Dynasty, and then to our great Liang Kingdom. King Wen laid the foundation, unifying the realm within seventy years. People still remember the era of the Yellow Emperor Xuanyuan to this day! We hope this golden age will endure for many generations!
The Xia Dynasty committed grave sins, the people of the Shang Dynasty suffered greatly, the world was in chaos, and every household longed for peace. Heaven chose us to eliminate tyranny and bring peace to the world. We achieved victory with astonishing speed, as if soaring; it was like stepping into the Milky Way in the sky! Now we hold a sacrifice, praying for long-lasting blessings.
The sacrificial animals and vessels are ready, the aroma of offerings fills the air, and the yellow wine is poured. Civil and military officials are busy preparing, the tinkling of jade ornaments, the fluttering of robes; the scene is grand! The common people are immersed in a peaceful atmosphere, bathed in sunlight.
All of this is due to the virtue of our monarch, blessing the people. He is as vast as the sky, as inclusive as the earth. We solemnly perform the three offerings, wishing the emperor a long life. Every household can enjoy peace and prosperity, all living beings can live in peace and happiness; this prosperous era will continue for a long time!
This is the decree from heaven to our empress; people from all over the world come to offer sacrifices. All kinds of good wishes have come true, the spirits from all directions bless us, overflowing with blessings, the celebrations are endless. We must pass on this peace to remote areas.
The sacrificial ceremony is solemn and pure; we meticulously adhere to the rituals. The sacrificial vessels fill the room, the chariots pulled by six dragons are also ready. The temple of the gods is solemn, the palace is quiet and peaceful. After the sacrifice, auspicious blessings come down. The radiant light of virtue illuminates the land, and the country prospers.
In the Hall of Brightness, everyone joins in singing the hymns in praise of the Five Emperors, five songs, each with four lines:
Song of the Green Emperor's Farewell:
The Green Emperor resides in the east, governing the virtues of spring and the dragon. He ushered in a prosperous era, bestowing blessings upon the people, and was kind and benevolent. The people thrived in peace and happiness as spring arrived each year. He taught people how to farm, ensuring everyone had enough to eat. The palace was magnificent, with the Green Emperor's presence bringing countless blessings.
Ode to the Red Emperor:
The Red Emperor's power is like the fierce sun in the south, symbolizing fire's power. He educated the people with rituals, upholding fairness and justice. Plants withered, and the warm spring wind swept the land. We prepared abundant offerings, with a wide array of delicious foods. Fine wine and delicacies filled the altar, set to joyful music. This prosperous era will not end, but will continue forever.
Ode to the Yellow Emperor:
... (This part of the original text is missing and cannot be translated)
The altar is teeming with vibrant scenes that repeat endlessly. Grace and blessings must be given throughout the year, with grand sacrificial activities, harmonious music, abundant offerings, and magnificent scenes. The temple is located in the central position, surrounded by other buildings. The temple enshrines the Emperor and other deities.
Next is the sacrificial song of the White Emperor:
The spirits appear in autumn, the Emperor dwells in the Four Haos Mountains, and the golden virtues prosper, bringing prosperity to all things. Geese fly in, birds change, and the fire god is seen. Although the mythical bird did not appear, the chrysanthemums bloomed with yellow flowers. The musical instruments and offerings for the sacrifice are all prepared, and the spirits will forever cherish those who embody virtue.
Then comes the sacrificial song of the Black Emperor:
The water virtues prosper, the Dark Lord governs the changing of the seasons. Yin energy descends, yang energy rises, the qi between heaven and earth gathers, and the scene becomes obscure. The Black Emperor governs wisdom, driving a black iron chariot, cracking the cold earth, with the sun's shadow rotating, repeating endlessly. Within the four seas, all things move and work to safeguard our land and ensure the nation's prosperity, enjoying eternal peace.
This is the dance song of the Temple of the Ancestors:
The temple is solemn and majestic, and the sacrificial ceremony is grand and dignified. Lady Liang is of noble virtue, and it is heaven's decree that the Liang family shall prosper. The Liang family is blessed by Lady Liang and holds a grand sacrificial ceremony. The temple is magnificent and splendid, decorated luxuriously. The sacrificial offerings are abundant, and we respectfully perform the ceremony to pay our highest respects. People everywhere share in this joy, demonstrating great filial piety, and future generations will honor this devotion.
This is the song of Lady Liang's ancestral temple:
The glory endures through the ages, and the sacrificial rituals become more grand. With all the necessary sacrificial offerings, a grand sacrificial ceremony will surely be held. Remembering the kindness of ancestors, expressing love and respect for loved ones. The emperor remembers the ancestors and offers sacrifices with the utmost respect. Riding a six-horse chariot, with brilliant flags, recalling the frost and dew, and reflecting on the scenes of winter and spring. This virtue of filial piety will always watch over the people.
The "Dazhuang Dance" is played in the Yi Ze tune, and the "Daguan Dance" is played in the Gu Xi tune, symbolizing the essence of the Moon King. The sacrificial ceremonies of the two suburbs, Mingtang, and the ancestral temple across the three dynasties are identical. Now, these two sacrificial songs are also recorded.
The "Dazhuang Dance" is a four-line song:
It is said that the emperor, though he sits high above, always thinks of the common people, hoping to rescue them from peril like a true sage. Look at the world—it's turmoil everywhere, like flames leaping from kindling. The people's lives are hard, longing for better days, morning and night, but never finding them. But at this moment, the emperor's light shines down upon the land, even moving the heavens! Our emperor is wise and mighty, soaring like a dragon over the Han River, with an awe-inspiring presence!
When the Emperor issued his command, it was like the thunder and lightning of the Battle of Muye, intimidating all around. The soldiers from Quegong, Pengpu, and other places were all brave and skilled in battle, like fierce tigers, unstoppable. Although our country has a long history, it has been revitalized! After six campaigns, the world has finally been pacified, and the Seven Virtues have been realized. The Emperor governs all nations and administers the realm, bringing about an atmosphere of harmony.
Next, everyone enjoyed a song from the "Daguang Dance," with lyrics that are short and powerful, in four-character verses:
"The Emperor is mighty, great is the sacred rise. He commands the four corners, receiving the heavenly mandate. He does not neglect his position, and shows respect to those below. When actions are without fault, movements are without deviation. Things follow their essence, and people pursue their nature. The nine achievements are celebrated, and the eight powers are established. Broadly benevolent to those below, governance is based on virtue. The three-toed morning ceremony, the evening casts a heavy shadow. The pathways through the ravines are forgotten, and climbing the mountains is unimpeded. Like the sun having permanence, with the heavens having no end. Presenting gold and stone, we express through dance and song. 'Xian,' 'Ying,' 'Shao,' 'Xia,' are all compared in grandeur here."
This praises the Emperor's merits, truly an unprecedented spectacle! Afterwards, someone composed five accompanying pieces based on the five musical notes: Gong, Shang, Jiao, Zhi, and Yu, each corresponding to different melodies:
Jiao Yin: The spring awakens and triggers growth, "Xianchi" begins to play, virtue emphasizes benevolence, harmonizing and balancing.
Zhi Yin: Holding the scales of governance, the summer's fiery virtue flourishes, all eight tones are gathered, and joy knows no bounds.
Gong Yin: The eight tones provide the foundation for the sovereign's five sounds, fostering harmonious music that resonates with "Xian" and "Ying."
Shang Yin: In autumn's record, the western tones are played, stirring the sound of bells and zithers, with elegance and fortune enveloping the music.
Yu Yin: The mysterious and elegant mark the winter's icy break, things return to their essence, harmonizing and pleasing, measuring high and deep, never-ending.
By the way, I almost forgot to mention that these lyrics were adapted by Xiao Ziyun after the Emperor had a vegetarian feast. The sequence of these accompanying pieces follows the five musical notes of Gong, Shang, Jiao, Zhi, and Yu, not by the months!
In the past, banquets were held in the palace with song performances that praised the accomplishments of their ancestors, but they weren't exchanged between the ruler and his ministers, so they were later abolished. The order of the banquet music during the three dynasties was as follows: first, the piece titled "Xiang He Wu Yin" was performed; second, the officials entered, and "Jun Ya" was performed; third, the emperor entered the palace, and "Huang Ya" was performed; fourth, the crown prince emerged from the West Hua Gate, and "Yin Ya" was performed; fifth, the emperor took his seat, and the princes and ministers rose; sixth, the princes and ministers withdrew and performed "Yin Ya" together; seventh, the emperor went into the inner chamber to change his attire; eighth, after the emperor finished changing, he came out, and "Huang Ya" was performed together; ninth, the officials offered longevity wine, and "Jie Ya" was performed; tenth, the crown prince took his seat to join the banquet, and "Yin Ya" was performed; eleventh, the emperor began his meal, and "Xu Ya" was performed; twelfth, the dining utensils were cleared away, and "Yong Ya" was performed.
Next is a series of song and dance performances: Thirteenth, a martial arts dance titled "Da Zhuang"; Fourteenth, a literary dance performance of "Da Guan"; Fifteenth, a performance featuring five "Ya Ge" songs; Sixteenth, a performance of comic dialogue and acrobatic acts; Seventeenth, a performance of "Pi Wu"; Eighteenth, a performance of "Duo Wu"; Nineteenth, a performance of "Fu Wu"; Twentieth, a performance of "Jin Wu" and "Bai Zhu Wu"; Twenty-first, a performance of dance plate acrobatics; Twenty-second, a performance of wheel dance acrobatics; Twenty-third, a performance of acrobatics involving a long flower pole chase; Twenty-fourth, a performance of slippery acrobatics; Twenty-fifth, a performance of wheel folding acrobatic acts; Twenty-sixth, a performance of long stilt acrobatics; Twenty-seventh, a performance showcasing acrobatics inspired by scenes from Xumi Mountain, Huangshan, and the Three Gorges; Twenty-eighth, a performance of jumping bell acrobatics; Twenty-ninth, a performance of jumping sword acrobatics; Thirtieth, a performance of acrobatics involving throwing down; Thirty-first, a performance of throwing down table acrobatics; Thirty-second, a performance of green silk pole acrobatics; Thirty-third, a performance of a single umbrella flower pole acrobatics; Thirty-fourth, a performance of thunder pole acrobatics; Thirty-fifth, a performance of golden wheel pole acrobatics; Thirty-sixth, a performance of white beast-themed pole acrobatics; Thirty-seventh, a performance of throwing stilts acrobatics; Thirty-eighth, a performance of macaque pole acrobatics; Thirty-ninth, a performance of woodpecker pole acrobatics; Fortieth, a performance of five table pole incantation acrobatics; Forty-first, a performance of exorcism acrobatics; Forty-second, a performance of blue and purple deer acrobatics; Forty-third, a performance of white martial acrobatics, after which a white deer greets the emperor as he descends from the hall.
Finally, there is: Forty-fourth, the temple attendant leads the resting peacock, phoenix, and literary deer in a dance, accompanied by the song and dance performance of "Shang Yun Yue"; Forty-fifth, a performance of high yarn acrobatics; Forty-sixth, a performance of transforming yellow dragon and turtle acrobatics; Forty-seventh, the crown prince rises and plays "Yin Ya"; Forty-eighth, the officials exit while playing "Jun Ya"; Forty-ninth, the emperor leaves, playing "Huang Ya". The entire banquet, from the music and dance to the various unique acrobatic performances, is grand in scale and unprecedented in its spectacle.
Since the Song Dynasty and the Qi Dynasty, there have been performances of the phoenix carrying a scroll, continuing through several dynasties. Now, the emperor issued an edict saying: “As the emperor, I sit facing south. Although the national atmosphere is very good, the emergence of auspicious signs fills me with shame. Even if a phoenix truly flies into the palace and stops at the palace gate, I must remain humble and cautious, without daring to take credit for it. Moreover, now it is a case of false pretenses, merely deceiving myself. During the New Year's grand assembly, music for the phoenix carrying a scroll will be performed, and then a courtier will receive the decree and announce it in the hall. Although this follows the old system of the previous dynasty, upon reflection, I feel ashamed, so this matter deserves more serious consideration. Therefore, this performance should be canceled.”
In the fourth year of Tianjian, He Zhang, who oversaw court ceremonies, requested to discuss the music to be played during the crown prince's New Year grand assembly. The emperor ordered the creation of new music specifically aimed at nurturing the crown prince's virtues. He Zhang suggested it should be named "Yuan Ya," and the teachers who welcome and bid farewell to the crown prince would also use this piece. This is derived from the meaning in the "Book of Rites," which states, "When there is a virtuous leader, all nations will be steadfast." Ming Shanbin, Yan Zhizhi, Xu Mian, and others believed that the Zhou Dynasty had nine pieces of "Xia," and the Liang Dynasty had twelve pieces of "Ya," all of which correspond to the cosmic order and represent the characteristic music of each dynasty. Now, adding one more piece of "Ya" would make it thirteen. He Zhang also raised questions about the dances performed in the Eastern Palace (the crown prince's palace), and the emperor allowed him to make suggestions. He Zhang believed that when the Son of Heaven performs music, it serves to reward virtuous lords, and watching the dances allows one to understand their virtues. Moreover, since the crown prince is studying in the Eastern Palace, his behavior and demeanor are of great significance, so two dances, "Da Zhuang" and "Da Guan," should be prepared to showcase the virtues of civil governance and military prowess. The emperor agreed. Thus, the music for the crown prince was renamed "Yuan Zhen," and these two dances were performed. At that time, the system of rites and music was well-developed and meticulously organized.
Later, the capital fell, and Emperor Jianwen was under the control of Hou Jing. Hou Jing made Princess Liyang, Emperor Jianwen's daughter, his concubine, and invited Emperor Jianwen and his mother, Lady Fan, to a banquet at Xizhou, where they played music that was commonly performed during the Liang Dynasty. Hou Jing's attendant, Suo Chaoshi, was also in attendance at the banquet. Emperor Jianwen was so heartbroken that tears streamed down his face. Hou Jing asked, "Your Majesty, why the long face?" Emperor Jianwen managed a forced smile and replied, "Prime Minister, what do you think Suo Chaoshi feels when he hears this music?" Hou Jing replied, "I don't know either, why ask Suo Chaoshi?" From then on, the music bureau fell into disrepair, and refined music disappeared. After Wang Sengbian triumphed over Hou Jing, all the musical instruments were sent to Jingzhou. Many instruments were damaged during the war, and Emperor Yuan ordered the appropriate department to repair them, struggling to gather them all. After Jingzhou fell, the Western Wei people were unfamiliar with the instruments, and the skilled musicians were taken to Guanzhong and enslaved.
At that time, it is said that both the Song and Qi Dynasties played music from the Han Dynasty, with the court performing sixteen pieces. Emperor Gaozu thought it was excessive, so he cut four pieces, leaving twelve, reflecting the four seasons. He also commissioned new songs to celebrate his achievements.
The first piece transformed the Han song "Zhu Lu" into "Mu Ji Xie," meaning the Qi dynasty has ended, and the Liang dynasty has risen. The second piece changed the Han song "Si Bei Weng" to "Xian Shou Shan," praising Emperor Wu for his victory over the Wei army in Sizhou, which marked a significant achievement. The third piece altered the Han song "Ai Ru Zhang" to "Tong Bai Shan," praising Emperor Wu for the flourishing of his reign while he governed Sizhou. The fourth piece revised the Han song "Shang Zhi Hui" to "Dao Wang," depicting the tyranny of Emperor Dong Hun and the subsequent uprising of righteous forces in Fandeng. The fifth piece changed the Han song "Yong Li" to "Chen Wei," praising the achievements in pacifying Jiahu. The sixth piece modified the Han song "Zhan Cheng Nan" to "Han Dong Liu," praising the righteous forces for their capture of Lushan city. The seventh piece transformed the Han song "Wu Shan Gao" to "He Lou Jun," praising the invincible military strength that subdued Yingcheng. The eighth piece changed the Han song "Shang Ling" to "Hun Zhu Zi Yin Te," depicting the political chaos under Emperor Dong Hun. It details the uprising led by Emperor Wu, the pacification of Jiujiang and Gushu, the significant defeat of the Vermilion Bird army, the punishment of wrongdoers, and the memorial for the deceased. The ninth piece altered the Han song "Jiang Jin Jiu" to "Shi Shou Ju," praising the righteous forces for restoring peace in the capital, deposing the tyrant, and achieving great success. The tenth piece changed the Han song "You Suo Si" to "Qi Yun Ji," praising Emperor Wu for embracing the mandate of heaven and for his efforts in spreading virtue and education across the land. The eleventh piece transformed the Han song "Fang Shu" to "Yu Mu," praising the prosperity of the Great Liang dynasty, the harmony between the ruler and his subjects, and the long-lasting prosperity of the nation. The twelfth piece revised the Han song "Shang Ye" to "Wei Da Liang," praising the Liang dynasty's prosperous fortune and benevolent governance, which spread throughout the realm.
In the seventh year of Tianjian, the emperor wanted to conduct a sacrificial ceremony at the ancestral temple. He issued a decree saying, "The 'Book of Rites' states that 'there should be no music on fasting days,' but I have just come out of the palace and want to revitalize the music ensemble. You can discuss the specifics among yourselves." So, the eight high-ranking officials discussed together and suggested that when the emperor left the palace, there should be no music, and normal ceremonial practices should resume upon his return. The emperor agreed to this suggestion and established this rule.
It is said that when Emperor Wu was still garrisoned in Yongzhou, there was a nursery rhyme circulating among the people: "Xiangyang's white bronze hooves bind the children of Yangzhou." Those in the know interpreted "white bronze hooves" as referring to warhorses, with "white" denoting golden horses. Later, when Emperor Wu raised his army, it turned out to be a cavalry charge, and the soldiers of Yangzhou were all bound, just as the nursery rhyme foretold! So, after becoming emperor, Emperor Wu composed a new repertoire of music. He composed three pieces himself and commissioned Shen Yue to compose three more for performance. Emperor Wu particularly revered Buddhism and composed ten pieces of music titled "Zheng Le" celebrating Buddhism. Additionally, there were performances by young monks featuring music and dance, who sang Buddhist hymns. If a grand gathering was held, these pieces of music would be performed.
In the early period of the Chen Dynasty, Emperor Wu ordered the collection of the rituals and systems of the Song Dynasty and Qi Dynasty. Zhou Hong, the Minister of Ceremonies, submitted a memorial saying, "The Qi Dynasty inherited the system of the Song Dynasty, continuing the old system from the Yuanhui period. The rituals for ancestral sacrifices, court meetings, banquets, and music are all the same, with only a slight increase in the rites for the North Suburban sacrifices. When the Emperor enters the altar gate, the piece 'Yongzhi' is performed; when drinking the ritual wine, the piece 'Jiazuo' is performed; when the Grand Commandant performs the secondary offering, the piece 'Kai Rong' is performed; when burying the sacrificial offerings, the piece 'Li You' is performed; when the Emperor returns to the palace, the piece 'Xiu Cheng' is performed; and when the officials all leave the court together, the piece 'Su Cheng' is performed. These rites did not exist during the Yuanhui period and were only added in the sixth year of Yongming. As for the music played during the sacrificial rites to send off the spirits, the 'Qiju Zhu' from the autumn of the second year of Emperor Xiaojian of the Song Dynasty was recorded as 'Si Xia,' which was changed to 'Zhao Xia' during the Yongming period." Emperor Wu then implemented this according to Zhou Hong's memorial. At that time, the music and dances of the Liang Dynasty were also used, with only modifications made to the lyrics of the Qishi dance. Here are the lyrics of the Qirong dance performed in the ancestral halls of the Emperor Zu Infantry Prefect Lord and the Emperor Zu Zhengyuan Prefect Lord. Today, a good day was chosen to worship the ancestors, with a grand and solemn ceremony, abundant sacrificial offerings, complete livestock and offerings, and a fragrance filling the air. The brilliance of our forebears seems to be right in front of us, and the royal essence of our dynasty is embodied in this song and dance.
Emperor Gaozu Ancheng's spirit chamber performed the "Kai Rong Dance" with the following lyrics: The virtues of our ancestors are long-lasting, and the royal foundation thrives as a result. We forever remember the achievements of our ancestors, performing rituals with reverence. The nine chapters of music are played in sequence, and the eight dances swirl on the steps, hoping that the spirits of our ancestors will descend and bless us with enduring fortune.
Emperor Zengzu Taichang's spirit chamber also performed the "Kai Rong Dance" with the following lyrics: The ancestors established the imperial foundation, their merits recorded in history. We respectfully commemorate the virtues of our ancestors, like a fine wine that flows endlessly. We offer sacrifices to the Three Pure Ones, presenting four types of fine wine, and expand the ancestral hall to honor their achievements.
Emperor Jingsu's spirit chamber performed the "Jing De Kai Rong Dance" with the following lyrics: Our royal ancestor upholds virtue, and blessings flow endlessly. His remarkable benevolence is both subtle and profound, embracing righteousness while remaining low-key. May his spirit rest here, accepting the incense offered in this sacrifice. His virtues will be passed down through the ages, just like King Tang of Shang, who established a prosperous era.
Emperor Gaozu Wuhuang's spirit chamber performed the "Wu De Dance" with the following lyrics:
Hail to the Sacred Ancestor, who governs the rise and fall. The Dao encompasses all, and his achievements are profound. With dignified strides, he stands alongside Emperor Shun. We sing praises to his splendor, honoring his brilliance here.
Clouds and thunder converge, plotting to unite the south. Great stability and growth, shaking the might of Chu. Four auspicious domains, nine territories restored. A star of auspiciousness emerges, transcending the clouds.
Virtue flows in our words, adorned with feathers. In this solemn temple, we bear the heroic banners. Exquisite jade is arranged, abundant and pure. This will be celebrated, and the grand design endures.
Upon the sacred throne of Emperor Wudi, the melody of "Wude Dance" filled the air, with lyrics praising the great sacred ancestor, governing the world, shining like the sun, moon, and stars. His achievements are as intricate as the very fabric of the cosmos, his virtues are unparalleled. He ushered in a golden age, his achievements can be compared to Emperor Shun and King Wen of Zhou. We sing of his merits, his wisdom and greatness.
He faced trials and tribulations, but steadfastly held to his ideals, eventually unifying the world and intimidating the state of Chu. He governed with the heart of the world, radiating like the stars. His virtues and esteemed name will be eternally cherished; within this hallowed ancestral temple, we celebrate his achievements. The exquisite jade offerings have been beautifully arranged, the offerings are plentiful and pristine; we humbly conduct the sacrifices, his legacy will endure through the ages.
In the year 556 AD, Emperor Wen commenced the establishment of sacrificial music for the Circular Mound Altar, Hall of Light, and Ancestral Temple. Officials in charge of ritual music advised the emperor at Zhongju: "When the officials enter and exit, play 'Su Cheng'; when sacrificial animals are brought forth, play 'Yin Xi'; when presenting hair and blood, play 'Jia Jian'; when welcoming and sending off the spirits, play 'Zhao Xia'; when the emperor enters the altar, play 'Yong Zhi'; when the emperor ascends the steps, play 'Deng Ge'; when the emperor first offers, the Grand Commandant offers second, and the Palace Attendant offers last, play 'Xuan Lie'; when the emperor partakes in the blessing wine, play 'Jia Zuo'; when reaching the position of the fire, play 'Zhao Yuan'; when returning to the side hall, play 'Xiu Cheng'."
By the year 560 AD, the court's sacrificial music for the three dynasties was established, referring to the old customs of the Liang Dynasty. Specifically: During the first ceremony, the piece "Xianghe" was performed five times, corresponding to the ruling star for each month, with the corresponding bells struck first. The piece "Junya" is played only when officials enter and exit, with Lin Zhong as the primary tone, Taicu Zhong corresponding, symbolizing the responsibilities of the officials, accompanied by trumpet. When the emperor leaves the palace, the music "Huangya" is played, with Huang Zhong as the primary tone, Taicu, Jia Zhong, Guxi, Dalü, and other bells corresponding, accompanied by trumpet. When the crown prince ascends the ten-step platform, the music "Yinya" is played, with Taicu Zhong as the primary tone, Nanlü Zhong corresponding, symbolizing the youthful energy of the second month. When the emperor invites nobles and officials to the banquet, the music "Yinya" is played, with Yize Zhong as the primary tone, Jia Zhong corresponding, symbolizing the meaning of the lunar calendar. When the emperor enters the inner hall to change clothes, the music "Huangya" is played, with Huang Zhong as the primary tone, Lin Zhong corresponding, accompanied by trumpet. When the emperor leaves the inner hall and ascends the throne, the music "Huangya" is played, with the same piece as during the changing of clothes. When presenting the birthday wine, the music "Jieya" is played, with Taicu Zhong as the primary tone, Nanlü Zhong corresponding, symbolizing the flourishing of all things with the rise of yang energy. When the meal is served, the music "Xuya" is played, with Ruibin Zhong as the primary tone, Dalü Zhong corresponding, symbolizing the fire's role in the ritual, with the meaning of "eating with etiquette." When the meal is cleared, the music "Yongya" is played, with Wushe Zhong as the primary tone, Zhonglü Zhong corresponding, symbolizing the exhaustion of the river's replenishment. The martial dance features the piece "Dazhuang," with Yize Zhong as the primary tone, Jia Zhong corresponding, symbolizing the firmness as the commanding star in July, accompanied by a trumpet band. The literary dance features the piece "Daguan," with Guxi Zhong as the primary tone, Ying Zhong corresponding, symbolizing the vigorous growth of all things in March, accompanied by a trumpet band. As the officials depart, the piece "Junya" is performed, with Ruibin Zhong as the primary tone, Lin Zhong, Yize, Nanlü, Wushe, Ying Zhong, Taicu, and other bells corresponding, accompanied by trumpet. When the emperor rises, the music "Huangya" is played, with Huang Zhong as the primary tone, Lin Zhong, Yize, Nanlü, Wushe, and other bells corresponding, accompanied by trumpet. During the sacrificial rites, music from the Song Dynasty is performed, and during the banquet, music from the Liang Dynasty is performed, to differentiate between the divine and the mortal, thus avoiding confusion. Finally, the emperor gave his approval, stating, "It shall be done."
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Five years later, the emperor ordered Minister Liu Ping and ritual officer Zhang Ya to formulate the ritual standards for the suburban sacrifices of the North and South and the Mingtang sacrifices. He also renamed all the Qile used during the Tianjia period as "Shaole." After the ritual process was determined, the Chief Music Officer raised the baton, and the music officer knelt and announced, "Play the music of 'Mao Shao'!" Then, when the deities descended, they played 'Tong Shao'; when the sacrificial animals came and went, they played 'Jie Shao'; when the emperor entered the altar and returned to the back hall, they played 'Mu Shao.' When the emperor bowed for the first and second time, the dancers performed the 'Seven Virtues' dance, accompanied by musicians holding halberds and shields, and after the music ended, the dancers continued to line up. Next, they moved to the east where the suspended musical instruments were and continued to perform the 'Nine Sequences' dance, while the musicians accompanied with feather fans and yue (a type of ancient flute). When offering wine to the heavenly gods and the spirits of the ancestors, they played the 'Deng Ge.' When the emperor drank the blessing wine, they played 'Jia Shao'; after the sacrifice was completed, when gazing at the flames of the sacrificial fire, they played 'Bao Shao.'
In November of the sixth year, the Imperial Secretary and Left Chancellor, Xu Ling, the Marquis of Jianchang, and Minister of Ceremonies Shen Han submitted a memorial on the norms of the New Year's Day court ceremony. They said that Cai Jingli, on behalf of the emperor, held a rehearsal a day in advance, with the Taile Bureau placing palace bells, gaogeng (a type of ancient musical instrument), and five tables in the court of the hall. After the guests were seated, the piece "Xianghe" was performed five times. When the emperor appeared, the Palace Attendant raised the baton in the hall, and the officials overseeing the ceremony below responded by raising their batons, followed by the performance of the piece "Kangshao." The emperor ordered the summoning of royal ministers and played "Bianshao." After presenting the jade bi, the emperor returned to the hall for the first time, and the same piece was played as before. The emperor rose and entered the side hall to play "Mushao." After changing clothes and coming out again, the same piece was played as before. When the emperor raised the wine glass, "Suishao" was played; when the meal was served, "Youshao" was played; when the emperor enjoyed tea and fruits, the Grand Minister of Music knelt to request the "Qide" dance, followed by the "Jiuxu" dance. The trumpet and acrobatic performances at the court followed the traditions of the Jin and Song dynasties, with slight adjustments and additions. In previous New Year's court meetings, there were performances such as Yellow Dragon Transformation, Wenlu, and Lion Dance, which were discontinued in the early years of Taijian. Now, Cai Jingli has submitted a memorial to restore these performances. According to the regulations, each trumpet ensemble consists of sixteen members, the flute ensemble consists of thirteen members, the reed pipe ensemble consists of two members, and there is one drummer. The Eastern Palace's ensemble was reduced by three members, the flute ensemble was reduced by two members, and the reed pipe ensemble was reduced by one member. The princes' ensemble was reduced by one member, and the flute ensemble was reduced by one member. The commoners' ensemble was further reduced by one member, and the flute ensemble was further reduced by one member.
Later, the emperor ascended the throne and developed a particular fondness for alcohol. Apart from attending court, he spent most of his time at various banquets. He especially enjoyed music and had palace maids learn to play northern musical instruments, which he named "Dai Bei." When he was drunk, he would have them play this tune. He also composed songs in the style of Qing music such as "The Oriole Stays," "Flowers in the Backyard of the Jade Tree," and "Golden Hairpins Hang from Both Arms," along with his favored courtiers, crafting lyrics that were both magnificent and frivolous. When men and women sang together, the songs sounded particularly sorrowful. Once he became emperor, he became obsessed with wine and women, spending his days either drinking or heading to drink. Apart from the necessary morning court sessions, he spent almost all his time at various banquets. He was particularly enthusiastic about music, even teaching palace maids to play northern instruments, giving them the special name "Dai Bei" and having them perform when he was drunk. Even more excessive was his tendency to compose songs himself, such as "The Oriole Stays," "Flowers in the Backyard of the Jade Tree," and "Golden Hairpins Hang from Both Arms," writing lyrics with his favored courtiers that were both magnificent and frivolous, almost limitless. Then he had men and women sing together, and the songs, when sung, were quite poignant.
