The Six Classics, in the end, all point to the same truth, but getting the rituals and music right is key. If you’re a bit slack with etiquette, you'll end up a real brute; if the government ignores etiquette, the whole country goes to pot. We're full of heaven and earth's energy, and all those emotions – joy, anger, sorrow, happiness. We're born with these feelings, but we can't always control them; wise people can help us manage them, but they can't get rid of them entirely. Therefore, sages emulate heaven and earth, establishing ritual and music systems to communicate with the divine, regulate human relationships, rectify emotions, and control all things.
We have romantic feelings and jealousy, so we have wedding rituals; there's a pecking order, so we have these village drinking rituals; we grieve for the dead and miss those far away, so we have funeral rites; we respect our elders, hence the court ceremonies. Weeping is how we deal with grief; singing and dancing, with joy. Good people can express themselves freely; bad people are kept in check by rituals. Therefore, if marriage rituals are neglected, marriages will be miserable, and there'll be more adultery; if village drinking rituals are neglected, the pecking order falls apart, and everyone ends up fighting; if funeral rituals are neglected, families fall apart, and we get more ungrateful people; if court ceremony rituals are neglected, rulers and subjects get confused, and everyone starts stepping on each other. Therefore, Confucius said, "To keep the powerful happy and the people in line, nothing beats good manners; to change people's ways, nothing beats music." Get the etiquette, music, politics, and law right, and you'll have a good society.
Music is used to cultivate inner harmony, uniting people; etiquette is used to establish social order, differentiating individuals. Unity leads to harmony and closeness, while distinctions lead to mutual respect. With harmony and closeness, there is no resentment; with mutual respect, there is no conflict. Ruling the world through deference is the role of ritual and music. Ritual and music go hand in hand, forming a unity. The feeling of respect is difficult to express directly, so it is manifested through rituals such as ceremonial prostrations, courtesy, and bowing; the feeling of harmony and closeness is difficult to express directly, so it is conveyed through poetic recitation and orchestral music. The system of ritual and music emphasizes respect, not material possessions; it emphasizes joy, not noise. Therefore, Confucius said: "Is etiquette just about jade and silk? Is music just about bells and drums?" This is the essence of ritual and music. Understanding the essence of ritual and music can create it, while understanding the norms can pass it down; those who create it are sages, and those who pass it down are wise leaders.
They say that for a country to be strong, it must follow the old ways and adjust flexibly according to the changes of the times, cut what needs cutting, and add what needs adding to meet the will of the people. Gradually improving and perfecting, eventually achieving a golden age, the rituals will naturally be refined. The Zhou dynasty inherited the rituals of the Xia and Shang dynasties, with a very complete system of etiquette, rules for everything, and safeguards against trouble. Therefore, the Zhou dynasty had as many as three hundred ritual texts and three thousand rules of conduct. At that time, education flourished, people lived in peace, there were no disasters or wars, and the jails sat empty. This situation lasted for more than forty years. Confucius praised, "What a great age of culture! I will emulate the Zhou dynasty!" However, the Zhou dynasty later declined; the nobles broke the law, felt that the rituals were restricting them, and destroyed those texts. Later, the Qin dynasty burned books and buried scholars alive, ultimately leading to the downfall of the country. After the establishment of the Han dynasty, there were many things to fix, but Emperor Gaozu ordered Shusun Tong to establish a system of etiquette to regulate the hierarchy between ruler and subject. Emperor Gaozu grinned, "Now I know what it means to be emperor!" So he appointed Shusun Tong as the ritual master, allowing him to establish a system of etiquette. It wasn't perfect, but Shusun Tong got it done.
During the reign of Emperor Wen of the Han Dynasty, Jia Yi believed: "The Han Dynasty has inherited the corrupt customs of the Qin Dynasty, where decency and morality have been abandoned. The situation has become so severe that some people are killing their parents and siblings, while others are stealing from temples. Court ministers are passing the buck over paperwork, leading to a decline in moral standards in society. People have become accustomed to this and think it is normal. To change these customs and get people back on track is not something that ordinary officials can achieve. The relationships between ruler and subject, superior and inferior, and family members aren't divinely ordained. They're human constructs. And as human constructs, they must be maintained, for neglect will lead to deterioration. The Han Dynasty has been established for over twenty years now, and it should establish systems and promote rites and music in order for the nobles to each know their place and for the people to be upright and virtuous, thereby reducing litigation." Jia Yi then drafted relevant ritual systems, which pleased Emperor Wen of Han. However, the ministers Jiang and Guan opposed it, so Jia Yi's suggestions were ultimately not adopted.
After Emperor Wu of Han ascended the throne, he wanted to promote outstanding talents, discuss the construction of a Mingtang, and establish ceremonial attire in order to create a peaceful and prosperous era. Unfortunately, Empress Dowager Dou favored Huang-Lao philosophy and wasn't keen on Confucianism, so the whole thing got shelved.
Later, Dong Zhongshu wrote a letter to the emperor, saying, "Your Majesty, if you wish to achieve great things, you should seek the root from the Way of Heaven. The greatest feature of the Way of Heaven lies in Yin and Yang. Yang represents virtue, while Yin represents punishment. The Yang energy in the sky resides in summer, nurturing all things; winter's Yin energy lies dormant, conserving its strength and not easily exerting its influence. Therefore, it is clear that Heaven values virtue over punishment. Yang energy bestows blessings upon all things, directing the cyclical rhythm of the year; Yin energy lurks underground, assisting Yang energy when needed. Without the support of Yin energy, Yang energy alone cannot complete the annual cycle. Kings should follow the Way of Heaven, thus emphasizing governance through virtue and moral cultivation, while reducing punishment. Punishment cannot be used to govern the world, just as Yin energy cannot complete the cycle of the four seasons alone. By abolishing the previous emphasis on governance through virtue and moral cultivation, and relying solely on law enforcement officials to govern the people, it is difficult to spread virtue throughout the world. Therefore, the ancient sage kings prioritized education, establishing universities for nationwide instruction and local schools for ethical cultivation in each county. With clear instruction, society would be harmonious, with minimal conflict, and there would be very little crime. However, during the Zhou dynasty, rulers became cruel, losing control of the world. The Qin dynasty followed, becoming even more severe. History shows that chaos never begets order, resulting in the downfall of the world like the Qin dynasty. Customs deteriorated, and people deceived each other. Even now, during the Han dynasty following the Qin dynasty, it is impossible to govern effectively. After laws are enacted, corruption flourished, and deceit was rampant after orders were issued. There are countless cases throughout the year, like trying to quench a fire with more fire; it only makes matters worse. For example, when a musical instrument is out of tune, it must be dismantled and readjusted to play a harmonious melody. When governing a country fails, serious changes must be made to govern effectively. Therefore, since the Han dynasty took power, they have been striving to govern diligently, but have not been able to eliminate cruelty and killings because they have not made necessary changes. As the ancients said, 'Wishing for fish is less effective than casting a net.' Now that you have been in power for over seventy years, it is better to step back and embrace change. By embracing change, Your Majesty can secure lasting peace and prosperity for the empire."
At that time, the court was busy conquering the barbarians, focusing solely on military achievements and paying no attention to all that fancy etiquette and book learnin'. During the reign of Emperor Xuan, Langye Marquis Ji served as a censor and wrote to the emperor: "A truly great leader who governs a country well is not something that happens often. The officials and ministers of the court are fortunate to be in such a good era, but they have failed to establish a governance strategy that can be passed down through the ages, nor have they been able to recommend wise and virtuous monarchs like in the prosperous eras of the past. They were all caught up in handling documents, adjudicating cases, and listening to lawsuits, which are not the essence of good times!"
"Nowadays, the methods used by ordinary officials to govern the people lack proper rules and right ways. They rely on their own ideas to make whatever they felt like. This led to cheating and forgery everywhere, harsher punishments, and people losing their kindness and caring for each other. Confucius said, 'To keep things running smoothly, and look after the people, nothing beats proper rules and ways of doing things.' This is not just empty talk! I hope Your Majesty, along with the ministers and scholars, can restore the ancient system of rituals and clarify the rules and regulations of the emperor, guiding the people of the world towards a good life. Wouldn't our people be just as good, and live just as long?" The emperor did not accept his advice, and Wang Ji resigned from his position due to illness.
During the reign of Emperor Cheng of Han, sixteen ancient stone tablets were unearthed by the river in Jianwei County, which was seen as a good omen. Liu Xiang took this opportunity to advise the emperor: "We should build that Bi Yong place, establish schools, get everyone singing and dancing to the right tunes, spread nice tunes and songs, demonstrate nice manners and respect, and use these to educate the people of the world. If that didn't work, I'd be gobsmacked!"
Some people say we can't pull off such a lavish ceremony. Liu Xiang explained: "The fundamental purpose of ceremonies is to educate people. If we screw up the ceremonies, then we're teaching people all wrong. If punishments are messed up, it may lead to death and injury. The punishments we use now aren't as perfect as the legal system in the Gaotao era. Officials just chop and whack as needed. But when it comes to rituals and music, they say they dare not. So they're cool with killing people, but scared to teach them right from wrong? Just because of a few glitches in the rituals and music, they simply give up and don’t do them. This is trading small problems for huge ones, which may have more serious consequences! Punishment's a light touch compared to education; it's like ditching the important stuff to rush the unimportant stuff. Furthermore, education is the foundation of governing the world, while punishment is just a supplementary means. Dump the foundation, rely on band-aids—how's that gonna work? From spoiled royals to death-row inmates, the problems never end—all because they haven't learned the principles of the Five Constants properly! We inherited the mess left by the Zhou and Qin dynasties, and now everyone's rotten to the core—greedy, cruel, sneaky, and deceitful—with no sense of right and wrong. If we don't show them the right way and just keep hitting them with punishment, nothing will change. That's why it is said: 'Lead 'em with rituals and music, and they'll be harmonious.'"
When Shusun Tong first tried to set up a new system of rituals, he got pushback from scholars in the Qi and Lu states. But he ended up becoming a big deal in Han Confucianism, and his work's still remembered today – proof that systems can work. Emperor Cheng took Liu Xiang's advice and had the bigwigs hash it out. Then Liu Xiang kicked the bucket, so the PM and Grand Minister told the Emperor to build the Bi Yong. They selected a location south of Chang'an City, but before construction began, Emperor Cheng passed away. The court used that to decide on the Emperor's posthumous name.
Wang Mang, wanting to show off, threw a huge Bi Yong party. It backfired – he used it to grab the throne and the whole country revolted. Then Emperor Guangwu Liu Xiu brought the Han back from the brink, cleaned up the mess, and moved the capital to Luoyang. He ruled for thirty years, all the neighbors bowed down, people were well-off, and things ran smoothly. Only then did they build the Mingtang and Bi Yong.
His son, Emperor Hanming, took over and kept up the ceremonies, sacrificing to Emperor Guangwu at the Mingtang and honoring the Three Elders and Five Elders (top court honors) at the Bi Yong. It was a big, impressive show. But virtue hadn't spread far and wide, the rituals and music were still a work in progress, folks didn't have much to learn from, schools were few and far between, and it didn't really work. Confucius said, "Building a mountain? If you stop before you've even got a basketful of dirt, I'm stopping too!"
Shusun Tong's rituals are in the government archives, along with the laws, but the Legalists ignored them, and nobody talked about Han Dynasty rules much. After Shusun Tong died, Prince Xian of Hejian collected over 500 ancient ritual texts. But later scholars just copied them without understanding, applying them to the Emperor without thinking, and messing up the whole system. So, the rules of how rulers and subjects, elders and youngsters, should act just got more and more confused.
Music is loved by wise rulers and can also be used to educate the people. Music has a profound influence on individuals and can change customs and habits. Therefore, ancient sages attached great importance to music education.
Ordinary people are born with natural vigor and understanding, but they do not have fixed emotions of sorrow, joy, anger, or happiness; these emotions only arise in response to external stimuli. Delicate, sorrowful music induces sorrow; harmonious, cheerful music brings joy; rough, stirring music instills strength; pure and righteous music evokes solemnity and reverence; broad and peaceful music fosters compassion; while debauched and dissolute music leads to licentiousness. The ancient sages detested this chaos, so they established the music of the Yayue, which is based on human emotions, follows certain rules, and aligns with ritual systems. This music helps maintain a person's calmness, adheres to the principles of the Five Constants (benevolence, righteousness, propriety, wisdom, and faith), prevents excessive leakage of yang energy (positive/masculine energy), prevents excessive retention of yin energy (negative/feminine energy), curbs excessive anger from strong energy, and mitigates excessive fear from weak energy. It ensures the smooth flow of these four types of energy within the body, allowing them to be expressed externally without interference. This music can touch the hearts of kind individuals and prevent evil energy from intruding. This, then, was the ancient sages' approach to musical governance.
Ages ago, before beginning to create new music, rulers would use the music of former kings to get the people hooked on it, and then they would compose new pieces to sing their praises. The I Ching says: "The music of the former kings is used to advocate virtues. The Yin Dynasty offered this music to God to worship their ancestors." Here are some examples of rulers who composed music: the Yellow Emperor composed "Xianchi," Zhuanxu authored "Liu Jing," Emperor Ku produced "Wu Ying," Yao created "Da Zhang," Shun composed "Zhao," Yu created "Xia," Tang produced "Huo," King Wu composed "Wu," and Duke of Zhou created "Shao."
- "Shao" means carrying on the ancestors' teachings.
- "Wu" refers to using military might to pacify the world.
- "Huo" signifies saving the people.
- "Xia" represents inheriting the achievements of the two emperors of the Xia Dynasty.
- "Zhao" means continuing the legacy of Yao.
- "Da Zhang" indicates demonstrating merits.
- "Wu Ying" describes being prosperous and glorious.
- "Liu Jing" suggests being all-encompassing.
- "Xianchi" refers to a complete body of music.
Since the Xia Dynasty, many musical pieces have been lost, with only the hymns from the Yin Dynasty remaining. The Zhou Dynasty's *Shijing* (Book of Songs) was a comprehensive collection, the musical instruments were well prepared, and detailed records can be found in the *Rites of Zhou*. Those responsible for court music and dance—from nobles and musicians down to blind musicians—are all selected for their moral character, practicing daily to teach the noble children. These noble children, known as *guozi*, must learn the songs of the Nine Virtues, recite the Six Poems, practice the Six Dances, and learn the harmony of the Five Tones and Eight Sounds. Therefore, Emperor Shun commanded Kuai, saying: "You are in charge of music and must teach the noble children. Be honest and gentle, generous and cautious, strong but not tyrannical, simple but not arrogant. Poetry expresses aspirations; singing conveys meaning; voices follow the chants; musical notes coordinate the sounds; and the Eight Sounds must be harmonious." This is the meaning. In addition, music is used to reward the merits of the feudal lords and educate the nobility. The rituals were visually stunning, the music was captivating, and the poetry moved the heart, so hearing music feels harmonious, learning poetry makes aspirations upright, and understanding the rules of music establishes order.
During sacrifices at the suburban temples, the spirits enjoy the offerings. During court performances, the courtiers harmonize. During school performances, the people unite. Listeners show respect and sincerity, joyfully accepting education. As a result, people all over the world know the virtues of heaven, follow its customs, shine with brilliance, progress upward, and cultivate goodness, often without understanding why. This harmony prevents all things from perishing, ensuring that heaven and earth remain in balance and auspicious responses abound. Therefore, the *Book of Songs* says: "The bells and drums boomed, the stone chimes clanged, showering down blessings." The *Book of Documents* says: "Striking stones and playing stones, all beasts dance in unison." If birds and beasts can respond, how much more can humans? How much more can spirits? So, music was how wise rulers connected with heaven and earth, kept the people happy, and improved society.
However, since the rise of the "Ya" and "Song," some music carrying the echoes of decay and disorder still exists; this licentious, brutal, and tyrannical music needs to be prohibited. When society decays, people scatter, villains oppress gentlemen, and the populace lacks discernment, evil will prevail over justice. The preface of the "Book of Documents" says: "King Zhou of Shang abandoned the ancestral music and created licentious music to disrupt orthodox music and please women." Court musicians and wandering bards fled with their instruments everywhere; some sought refuge with vassals, while others escaped to the rivers and lakes. Music originates from human emotions and nature, penetrating deep into the skin and bone marrow. Even after thousands of years, its influence lingers to this day. By the time of the Spring and Autumn Period, a prince of Chen fled to the state of Qi. Chen is a descendant of Emperor Shun, and the "Zhao" music was kept alive there. So when Confucius heard the "Zhao" music in the state of Qi, he did not eat meat for three months, saying: "I had no idea music could achieve such heights!" This is a high praise for music.
During the decline of the Zhou Dynasty, satirical poems criticizing the government began to appear. When the Zhou court lost its authority, these poems could no longer be written. The official system of the Zhou Dynasty collapsed, and the musical traditions of "Ya" and "Song" were in chaos, until Confucius came to restore order to them. Confucius said, "It was only after I returned from the State of Wei to the State of Lu that I was able to restore the traditional musical system. 'Ya' and 'Song' were each placed in their proper positions." By that time, the Zhou Dynasty had completely declined, and the feudal lords did as they pleased, building lavishly, constructing grand palaces, and showing off their luxurious chariots in the streets. Powerful ministers like Guan Zhong and Ji Shi even performed the eight-part dance in the court using the three bows of the "Yong" ritual; the ritual and musical systems completely collapsed, gradually declining and never able to recover. Various popular songs, like "Sangjian" and "Pushang," as well as the decadent music from Zheng, Wei, Song, Zhao, and other regions emerged. Palace life was sapped by this music, harming people's health; outside the court, it disrupted governance and harmed the people. Those in power used this music to mask their greed and extravagance. People fought amongst themselves and between states for profit. Therefore, Duke Mu of Qin abandoned the Rong and Di, and Youyu fled Qin; Qi bribed Lu, forcing Confucius to leave. By the time of the Warring States period, Marquis Wen of Wei still appreciated ancient culture. He once told Zixia, "Ancient music puts me to sleep, but I can't get enough of the music from Zheng and Wei." Zixia tried to explain, but Marquis Wen wouldn't hear it, and from then on, the rituals and music completely declined.
After the establishment of the Han Dynasty, there was an institution in the Music Bureau specifically responsible for the musical system. They meticulously documented the music and dances but couldn't articulate their deeper meaning. During the reign of Emperor Gaozu of Han, Shusun Tong created new music for the ancestral sacrifices based on compositions from Qin Dynasty musicians. The high priest welcomed the spirits at the temple gate with the performance of "Jia Zhi," which resembled the ancient music used to summon spirits during sacrifices. When the emperor entered the temple, they played "Yong Zhi" to match his steps, echoing the ancient pieces "Cai Ji" and "Si Xia." "Deng Ge" was performed during the emperor's sacrifices, featuring only singing and no instrumental accompaniment, ensuring that all officials present could hear the song clearly, similar to the ancient song "Qing Miao." After "Deng Ge," they played the music "Xiu Cheng" to praise the spirits for enjoying the offerings. When the emperor sat down in the eastern chamber to drink wine, they played "Yong An" to celebrate the completion of the sacrificial ceremony. Additionally, there was "Fang Zhong Ci Yue," created by Lady Tangshan, the wife of Emperor Gaozu. During the Zhou Dynasty, it was known as "Fang Zhong Yue," and during the Qin Dynasty, it was renamed "Shou Ren." In general, music must conform to the era in which it was created, and rituals must not forget their origins. Emperor Gaozu was really into Chu music, so "Fang Zhong Yue" also had the musical style of the Chu region. In the second year of Emperor Huidi, he instructed Xiahou Kuan to improve the xiao and guan and renamed this set of music "An Shi Yue." Speaking of dances, the Gaozu Temple featured dances like "Wu De," "Wen Shi," and "Wu Xing," while the Xiaowen and Xiaowu Temples had an even wider repertoire, including "Zhao De," "Wen Shi," "Si Shi," and "Wu Xing."
So, "Wu De Dance" was created in the fourth year of Gaozu's reign, meaning to use dance to show that everyone was thrilled to support him and to use force to quell rebellion. As for "Wen Shi Dance," it was actually modified from Emperor Shun's "Inviting Dance" and renamed "Wen Shi" in the sixth year of Gaozu's reign, a name change to distance itself from the past. The "Five Elements Dance" was originally a dance from the Zhou Dynasty and was renamed "Five Elements" in the twenty-sixth year of Qin Shihuang's reign. Then, the "Four Seasons Dance" was composed by Emperor Xiao Wen himself, representing a peaceful and harmonious empire.
Composing your own dances showed the emperor's creativity and unique style. Performing dances from previous reigns demonstrated respect for tradition and adherence to established norms. Later, Emperor Xiao Jing revised "Wu De Dance" and renamed it "Zhao De Dance" to honor Gaozu's ancestral temple. During the reign of Emperor Xiao Xuan, he revised "Zhao De Dance" into "Sheng De Dance" to honor the ancestral temple of the founding emperor. These three dances—"Wen Shi," "Four Seasons," and "Five Elements"—were frequently performed at imperial temples.
In the sixth year of Gaozu's reign, he also created "Zhao Rong Music" and "Li Rong Music." "Zhao Rong Music" is similar to the ancient "Zhao Xia," mainly accompanying the "Wu De Dance"; "Li Rong Music" mainly accompanies the "Wen Shi Dance" and "Five Elements Dance." Dancers wouldn't dare play music before the emperor unless the dance was flawless; if they could use musical accompaniment, it meant that the dance was successful and could be completed smoothly. In essence, many of these dances were rooted in Qin Dynasty traditions.
After Liu Bang won the empire, he returned to his hometown of Pei County, where he drank and sang with his old fellow villagers, feeling both joy and sorrow. He even wrote a song called "The Wind Rises" and taught 120 children in Pei County to sing it. When it was the time of his son, Emperor Xiaohui, he turned the palace in Pei County into Liu Bang's ancestral temple and had 120 children learn to sing, dance, and play instruments, maintaining this scale. During the reigns of Emperor Wen and Emperor Jing, it was just done in a perfunctory way by the court officials.
When Emperor Wu of the Han Dynasty came to power, he established the rituals for sacrifices to the gods of the land and sky, worshiping the god Taiyi in Ganquan on high ground and the god Hou Tu in Fenyin on the low plains. He then set up a music office to collect folk songs, read and recite them at night, and gathered various folk songs from the states of Zhao, Dai, Qin, and Chu. Emperor Wu also appointed Li Yannian as the Director of Music and brought in Sima Xiangru and dozens of others to create poetry and prose, study musical tones, adjust the harmony of the eight tones, and compose a 19-chapter song. On the first day of the first month, a sacrifice was held at the altar in Ganquan, where 70 boys and girls sang together from nightfall until dawn. In the evening, lights like shooting stars often lingered on the altar, and Emperor Wu emerged from his palace to pay his respects from afar. The hundreds of officials participating in the sacrifice were all moved and awestruck.
The "Song of Anshi's House" consists of 17 chapters, with verses such as:
Great filial piety is complete, virtuous deeds shine brightly. High and mighty, the four counties, joy fills the official courtyard. Fragrant trees in the feather forest, clouds in the distant sky, gold branches and jade leaves, various banners and flags.
"Qishi" and "Huashi," solemnly chant in harmony. The gods come to feast, all should listen. The melodious music is delivered, expressing delicate human emotions. Suddenly riding the blue mystery, the festive matters are completed. Clear thoughts are profound, the principles are deep.
I determine the calendar, people reveal their hearts. Command oneself to be cautious, teach and spread knowledge. Then establish ancestral temples, reverently honor and respect ancestors. Great is the filial piety and reverence, extending to the four corners of the earth.
The noble and virtuous had attentive and upright neighbors. The offerings were pure, and the Emperor was known for his filial piety and virtue. Great achievements were accomplished, bringing peace throughout the land. Traitors stirred up chaos in the northeast. The army was mobilized and disciplined, its officers carrying out their duties. Amidst the revelry, treachery and malice festered. Order was restored, securing peace in the Yan Kingdom.
The great sea gathers all waters, and wise rulers bring joy to their people. The great mountains are towering, and the myriad plants flourish. What do the people value? They value virtue.
Essentially, Emperor Wu of Han staged a massive musical performance for a sacrifice, commissioning new songs; the spectacle was so grand, it was said to have involved miracles! This song, "An Shi Fang Zhong Ge," celebrates his filial piety and achievements.
Contentment and happiness bring prosperity to future generations. Consider the dragon, soaring even in autumn! Only noble leaders ensure the well-being of their people. The lush vegetation, like a beautiful woman's robes—a truly wondrous sight! But who can truly achieve such perfection? Nothing surpasses moral education; nothing endures like its boundless spread.
Thunder and lightning—symbols of a virtuous state, founded on just laws. With this foundation, blessings can spread widely, earn the emperor's favor, and everyone can protect each other, spreading virtues and longevity to their descendants.
The air was sweet with the scent of lychees and osmanthus. Filial piety shines like the sun and moon, a celestial mandate. Four black dragons bore him swiftly north, the feathered banners a magnificent display! And so, filial piety endures through the ages. This is "Guihua."
Be cautious and follow the way of Heaven. My study of the Book of Changes has been extensive, offering insights into all things. Compassion and grace, like beautiful virtues, are profound and unpredictable, yet they can lead to lasting happiness. "If Beautiful"
Steady and solid, imitating the firmness of mountains. Ah, how filial! Having pacified the Rongdi, the barbarians are happy to pay tribute and bring good fortune. Loving all under heaven ultimately leads to no more wars.
Lavish offerings presented, sacrifices made to the spirits. After the sacrifices, moral influence flourishes. Only with virtue can it permeate the land and become the standard for rulers. Carrying the grace of heaven, beautiful wishes are never forgotten.
The brilliant glory washes away the faults of the princes, inheriting the harmony of heaven and earth, enjoying the prosperity that comes with it. Not neglecting political affairs in pleasure, this should be the example for the people.
Explore the root causes, learn the morals of the sages, and the people can prosper. Beautiful wishes continue to this day; be cautious and diligent.
Prudence is key to aligning with the way of Heaven. The people are peaceful, and the descendants can enjoy glory. Reverence and benevolence lead to receiving the grace of heaven. Sacred gifts, wishes for long life, are never forgotten.
Inheriting the bright virtues of the emperor, firm like mountains. Grace extends to the people, forever enjoying good fortune. Careful conduct reflects the way of Heaven. The people are peaceful, enjoying endless prosperity.
In the nineteenth chapter of the "Jiao Si Ge," the poem reads:
(The original poem is transcribed)
The day of the sacrificial rites rehearsal has arrived. People are full of hope, the scent of offerings fills the air, and visitors from afar gather. Heaven's gates swung open, the deities descended, blessings were bestowed, and peace and prosperity abounded. The chariot of the deities was wrapped in dark clouds, driven by flying dragons, with banners fluttering. The spirits arrived in a majestic display, their descent bringing life-giving rain to nourish all things. As the deities made their presence known, an auspicious atmosphere prevailed; people were joyous and filled with awe. After the deities took their seats, harmonious music filled the air from dawn till dusk as people prayed devoutly. The offerings were abundant, the aroma of wine wafted through the air, and people from all corners of the land gathered together. The deities lingered peacefully while people recited poetry, admired the scene of the sacrifice, and gazed at the distant Yao Terrace. The women participating in the sacrifice were all beautiful and elegant, like the exquisite blooms of the white camellia, dressed in gorgeous attire and adorned with exquisite jewelry, displaying dignified manners and grace. On a beautiful night, the fragrance of orchids pervaded the air as people raised their glasses and offered heartfelt toasts. "Sacrificial Rites Rehearsal" Part One: The emperor presides over the main sacrificial ceremony in the central altar, and people from all directions come to pay their respects. The sacrificial activities are orderly, and everything is prepared properly. There is peace between heaven and earth, in accordance with the principles of the five elements. The empire enjoyed a time of peace, prosperity, and flourishing arts and military might. The spirits of the earth protect the harvest, and the light of the sun, moon, and stars shines everywhere. A scene of tranquility unfolds, with the emperor wearing a yellow robe, majestic and noble. "The Emperor's Arrival" Part Two: In spring, all things revive, plants grow lush, and rain and dew nourish everything, promoting vigorous growth. With the sound of spring thunder, all things thrive, with withered plants regaining vitality and fulfilling their missions. The people live in peace and happiness, from infants to the elderly, all of creation basked in the spring sunshine.
"Qingyang" Part Three by Zou Zile
In the summer, the sun shines brightly, everything grows lush, the branches of the Wutong trees are flourishing with leaves, showing no signs of decay. Flowers bloom, fruits are plentiful, crops are abundant, and the spirits are held in awe. We held a grand ceremony, never forgetting the meaning of the ritual, praying for the blessings of the deities, for national peace and prosperity to be passed down through generations.
"Zhuming" Part Four by Zou Zile
In autumn, the clouds in the western sky change unpredictably, the autumn wind rustles, crops ripen, continuing the scene of past bountiful harvests. The wicked dare not cause trouble, disasters are hidden, the borders are stable, and neighboring tribes pay tribute. People revere the majesty of the gods, admire their virtues, obey without arrogance, and are filled with a sense of justice.
"Xihao" Part Five by Zou Zile
In late autumn, the weather is cold, the ground freezes, insects hibernate, grass and trees wither, winter is coming. We must eliminate chaos, eradicate evil, and restore the people to simple virtue, embracing a heart of innocence. We must follow the principles of trust and righteousness, emulating the solemnity of the Five Sacred Mountains. When it comes time to collect taxes, we must properly gather the grains.
- "Xuanming" Part Six by Zou Zile
The great Taiyuan Heavenly Emperor blesses the prosperity of the spirits; he oversees the operation of heaven and earth, creating the four seasons. He carefully arranges the movements of the sun, moon, and stars, the cycle of yin and yang and the five elements. Clouds, wind, thunder, and lightning bring down dew and rain, the people thrive and prosper, all following the rules of the Heavenly Emperor. Those who inherit the throne work diligently, following the auspicious path of the dragon. The abundant offerings are neatly arranged, and everyone feasts together, disasters are eliminated, and peace and prosperity spread throughout the world. Bells, drums, and music filled the air as dancers waved the sacred banners; the nine barbarian tribes came to pay homage.
——"The Only Great Beginning" Chapter Seven: In the first year of Jiànshǐ, Prime Minister Kuāng Héng had abolished "Luán Lù Lóng Lín" and composed the poem "Juān Xuǎn Xiū Chéng" (meaning "A Selection of Good Fortune").
Everything in the world is changing, yet I am reminiscing about the past, so I came to the Purple Altar, contemplating the path to the past. Respectfully performing sacrifices, everything was perfectly prepared for the sacrifice, to honor the spirits. A thousand children danced in eight formations, celebrating the era of peace together. After the performance of nine songs, the music was beautiful, and the musicians playing the qin, yu, and se gathered in the Xuanzhu Hall. The jade and stone chimes and golden drums sounded; the spirits seemed very pleased, and the officials performed their duties with precision. Abundant sacrificial offerings were placed on the altar, and the spirits seemed to reside, overlooking the mortal world. The ceremony was splendid and awe-inspiring, observed throughout the changing seasons, in accordance with Heaven's will. The music and poetry complemented each other, the jade and stone instruments produced crisp sounds, and the music fluctuated in pitch, creating new movements that would endure. The sound of music spread far and wide, like the cry of a phoenix; the spirits seemed very satisfied, enjoying the sacrifice.
——"Heaven and Earth" Chapter Eight: Prime Minister Kuāng Héng had abolished "Fǔ Xiù Zhōu Zhāng" and composed the poem "Sù Ruò Jiù Diǎn."
The sun rises and sets—a simple truth. Times change, people change. Spring, summer, autumn, winter—none of it feels like mine anymore. I'm as calm as the ocean, watching the world go by—what difference does it make? I know where my happiness lies, and watching the six dragons dance fills me with joy. What gives? Why can't I catch a break?
This poem is about the Heavenly Horse. As the sun rises, the Heavenly Horse descends from the sky, its body soaked in sweat, with red sweat streaming like crimson rivers. It has high aspirations and an extraordinary spirit, drifting like a cloud and speeding like lightning. Its posture is graceful, able to run thousands of miles; what horse could match it? Only a dragon can be its friend. Legend tells us that, in the third year of Yuanshu, this horse was born in the Wowa water.
Second paragraph:
Here comes the Heavenly Horse! It comes from the farthest place in the west, crossing the quicksand; all Nine Yi tribes bowed before it. The Heavenly Horse emerges from the spring water, with a back like a tiger's spine, its form, ghostly and magnificent. The Heavenly Horse passes through barren lands, traveling a thousand miles a day, racing along the road to the east. The Heavenly Horse arrives on time, about to soar into the sky; who can make an appointment with it? The Heavenly Horse opens the door to the distance, straightens its body, and gallops towards Kunlun Mountain. The Heavenly Horse is here! It is the messenger of the dragon, sporting near the Celestial Gate, observing the Jade Platform.
The third paragraph continues the poem's majestic portrayal of the Heavenly Horse.
This poem describes the grand scene of the heavenly horse being presented to the emperor: the heavenly gate is wide open, creating a majestic atmosphere as the emperor warmly welcomes it to attend a magnificent banquet. The brilliance of the heavenly horse illuminates the night, enhancing the emperor's virtue and reputation; its spiritual nature is as light as a goose feather, heralding a long-lasting era of peace and prosperity. The palace is decorated magnificently, built with precious jade stones and adorned with jade ornaments, accompanied by music and dance performances. With elegant posture, the heavenly horse seems to gaze into the distance. The stars themselves seem to pause in awe, the mountains pale in comparison, and it illuminates the purple curtains, with pearls shimmering like golden light. Colorful flags swirl like wings, and the prancing sheep dance in pairs to celebrate. The moonlight shimmered like liquid gold, and the sun blazed brilliantly. The clear breeze blows as the emperor raises his cup to drink heartily. The heavenly horse seems to linger, prompting the emperor to write this poem. May this happiness last forever; even the heavens will take note! The heavenly horse descends from the sky, eagerly responding to the emperor's anticipation. May the country prosper and flourish, happiness and peace spread everywhere. The heavenly horse soared with all its might, flying through the nine heavens, piercing through the clouds, and plunging towards the sea.
In the fifth year of Yuanding, I stumbled upon this incredible Ding in Fenyin. It was truly an auspicious sign from heaven! Look at the stars shining in the sky, like a celestial announcement, with the sun observing everything closely. "参侔开阖，爰推本纪" (The opening and closing of the stars, as if pushing the chronicle forward) — these are all auspicious signs given by heaven! The Ding unearthed by the Fen River symbolizes the prosperity of the dynasty. All things are difficult in the beginning, and now this prosperous era is just beginning. The music was harmonious and beautiful, and the solemnity of the sacrificial ceremonies filled the air, with various musical instruments playing together; you could hear the music for miles. The sound of the qin, a traditional string instrument, resonated, symbolizing the prosperity of the country, the succession of four generations, and the arrival of envoys from all directions. A carp was presented as an offering, a sign of good fortune, alongside sumptuous sacrificial wine and food. And the wine? The best Zhejiang wine, of course! All of this moved me deeply. Cultivating virtue can make one renowned throughout the world. I found myself traveling around, pondering national affairs. May we all have a prosperous and happy future!
In the second year of Yuanfeng, Lingzhi sprouted in the Qifang of Ganquan Palace, a true sign of auspiciousness! Nine stems, lush and green, caught the attention of the palace children, who found it rare and came to see this magical sight. This Lingzhi, a gift from the heavens, appeared, indicating the prosperity of the country, increasingly flourishing, truly extraordinary!
Later, we held a grand sacrificial ceremony at the Jiatan of the former emperor, wearing black and yellow sacrificial robes, praying for the blessing of heaven. Jizhou was brimming with auspicious signs, indicating that we would soon receive the grace of heaven. All directions were peaceful and harmonious, all ethnic groups united, our nation grew stronger, our borders expanded, and peace reigned throughout the land.
Finally, let me talk about the grand sacrificial event! The scene was truly unprecedented! "With glorious splendor, the spirits arrived," the gods descended, passing through the heavenly gate, with a seemingly endless procession of chariots and horses, majestic and magnificent, all the way to Kunlun Mountain. The spirits emerged from the jade chamber, traveled around, and arrived at the Orchid Hall. As the deities journeyed, banners fluttered, and the procession of chariots and horses continued without end, creating a spectacular scene. The gods descended, and heavenly dew fell, auspicious clouds gathering. When the spirits arrived at the altar, guests from Jiuyi Mountain and the mythical Kui dragon danced gracefully. The spirits sat down, the auspicious time had come, and everyone prayed together, seeking blessings and prosperity. The spirits accepted the sacrifice, bestowing abundant blessings upon us, bringing prosperity to the land and peace to its people. The heavens bestowed generous grace upon us; the Fen River shone with golden light, its waves surging like clouds. The people rejoiced, their songs echoing to the heavens.
Oh, this poem is truly magnificent! It speaks of five immortals, governing the surrounding lands, with vast territories where even the floating clouds have to make way. The sacrificial platform was adorned with fragrant herbs and exquisite jade, shining brightly, symbolizing the prosperity and longevity of the country. The immortals all attended the sacrifice, as if graciously receiving our tribute, and the scene was grand, with everyone raising their glasses in toasts. The immortal procession was majestic and magnificent. The ceremony concluded, leaving no regrets! The magnificent spectacle subsided, leaving a profound sense of calm.
The next poem is about the Emperor's tour to Yongdi in the first year of Yuan Shou. He unexpectedly obtained a miraculously appearing white qilin while standing on the high Longshan, looking towards the western border. Suddenly, the heavens opened with thunder and lightning, and he actually obtained the auspicious white qilin! This is a symbol of auspicious signs of imperial virtue! Seizing this opportunity, the Emperor used this auspicious event as a mandate to decisively defeat the Xiongnu and bring peace to the land. All the officials came to celebrate, and the land itself seemed to celebrate. The Emperor happily turned the chariot and rode away, as if blessed by the heavens. Shooting stars seemed to signal divine favor, the clouds returned to calm, and the Emperor's heart was full of joy.
This poem is about the Emperor's tour to the East Sea in the third year of Taishi. He obtained the crimson goose! Look, that crimson goose, its feathers, though crimson, seemed to glow with an ethereal light, gathered in the west, feeding on celestial dews and drinking from sacred springs. There were many crimson geese, colorful and rare to see! This is a symbol of heaven's blessing! The Emperor ascended to Mount Penglai, as if he wanted to live as long as heaven and earth, forever.
The last poem tells the story of the Emperor encountering the red dragon (or Jiao) during his tour! The red dragon pulled the chariot, a magnificent yellow canopy shaded the land, dewdrops at night, and the sun shining during the day. All the officials came to pay their respects, the chariot pulled by six dragons, offering fine wine, and the immortals appeared to be in high spirits. After enjoying the offerings, the immortals bestowed upon us auspiciousness, radiant light, longevity, and eternal prosperity! An aura of auspiciousness permeated the land, blessing all the people, bringing peace to the world! The immortals departed in a majestic procession, their banners streaming like serpentine dragons. Music played, the immortals were about to leave, leaving behind supreme grace, blessing our country with eternal prosperity!
The rest of the emperor's journeys and sacrifices aren't detailed here.
So, back in those days, King Xian of Hejian was a real intellectual. He believed that governing a country solely through ceremonial music was insufficient, so he presented the refined court music he had collected to the emperor. The emperor then appointed officials in charge of music to have the musicians practice these high-brow tunes regularly, just in case they were needed for special occasions. However, the emperor rarely used this refined court music in normal times, not even for the music used in worshipping the heavens and ancestors. Nevertheless, these songs were passed down to future generations, and descendants could still learn from them or get something out of them.
Just think, the "Ya" and "Song" of the Yin and Zhou dynasties can be traced back to the earliest ancestors like You Sheng, Jiang Yuan, Hou Ji, and Qi, all the way to the great rulers and ministers of the Zhou dynasty, including Xuan Wang, Gong Liu, Gu Gong, Da Bo, Wang Ji, Jiang Nu, Da Ren, Tai Si, and others. Every man and woman, ruler and minister, who had merits were celebrated. Their achievements were so well-known that their fame spread far and wide at that time, and their good names continued to be passed down to future generations.
However, the music and hymns used for worshipping the heavens and ancestors in the Han dynasty do not contain any content that praises ancestors at all. Although the sounds of the musical instruments sound harmonious, they do not actually conform to the standards of music theory. In the court, there are musicians in the Yeting and Yufu of Shanglin Garden, all playing the lightweight music - Zheng Sheng.
During the reign of Emperor Cheng, there was a guy named King Yu of Changshan who particularly liked the music of Hejian State and understood the meaning behind it. His students, like Song Ye and others, wrote to the emperor about this matter, and then the court had officials like Ping Dang come and study it.
Ping Dang said, "After the Han Dynasty inherited the Qin Dynasty, the tradition was broken. Thanks to our brilliant emperor, who encouraged free speech, overhauled the government, and even established universities. King Xian of Hejian recruited talents widely, searched for recluses, and promoted court music to educate the people. At that time, the great Confucianists Gong Sun Hong and Dong Zhongshu believed that the music of Hejian was very orthodox and the legitimate grand music. However, the rites and music of the Spring and Autumn Period are now handled by the academy, and the performances are sparsely performed and poorly explained. Therefore, the bigwigs only hear the booming sounds and do not understand the meaning behind them. They even want to use it to educate the common people, which just wouldn't work! Therefore, although this court music has been passed down for more than a hundred years, it hasn't had much impact on educating the people. Now, Song Ye and others insist on studying this ancient music mainly to promote education and enlighten the people. Whether this knowledge thrives or dies depends on the people. We should keep this classical music alive and well. Confucius once said, 'It's people who spread the Way, not the Way that spreads itself.' Although Hejian is just a minor kingdom, they love learning, respect ancient culture, and have preserved these things, which are still praised by the people today! Moreover, with our wise emperor and favorable conditions, we can restore the old culture, make the music closer to the style of court music, and educate the world to be renowned for generations to come. This is huge!" This matter was later reported to the court officials, who thought it was all too ancient to verify, so they just dropped it.
At that time, there were many popular songs of debauchery. The famous musicians in the palace, like Bingqiang and Jingwu, were rich and powerful. The prominent relatives of the emperor, such as Dingling Marquis and Fuping Marquis, were even more extravagant, even vying with the emperor for women and musicians. Emperor Ai disliked these when he was Prince Dingtao. He himself did not enjoy listening to those licentious tunes. After he became emperor, he issued an order saying, "These days, things are going downhill. Everyone is pursuing luxury and flashy techniques. The music of Zheng and Wei is particularly popular. Luxury leads to people getting unruly and the treasury emptying; the pursuit of flashy techniques causes many to neglect their work; and the popularity of Zheng and Wei's music fosters a rampant culture of debauchery. If you want folks to be honest and well-off, it's as difficult as trying to make muddy water clear. As Confucius said, 'Play the music of Zheng, and you'll have licentiousness.' Therefore, I'm getting rid of the music officials. The music for sacrifices and ancient military music, as long as it is not from Zheng and Wei, will be organized and handed over to other government offices for management."
The Prime Minister Kong Guang and Minister He Wu reported: "There are sixty-two members in the orchestra for the sacrificial rites in the suburbs, responsible for the sacrifices in the southern and northern suburbs. There are six percussionists for the grand music, ten drummers for 'Jiazhi', two drummers from Handan, three drummers for the cavalry band, two drummers from Jiangnan, four drummers from Huainan, thirty-six drummers from Bayu, twenty-four drummers for the singing team, one drummer specializing in a particular rigorous style from Chudi, four royal drummers from Liangguo, twenty-five drummers from Linhuai, and three drummers from Zifang, totaling twelve orchestras and one hundred and twenty-eight people. During court ceremonies, a banquet is held in the palace, where ancient military music is performed.
In addition, there are thirteen people for the suburban sacrifices, and members of various ethnic orchestras were drawn from various ethnic groups to serve as the 'Yunzhao' orchestra. This includes sixty-seven people responsible for the southern suburban sacrifices, four in charge of refined music, five chanting scriptures at night, two for the Gang and Biecong orchestras, two main flute players for 'Shengde' music, one musician to determine the performance of festival music based on the solar terms, one player each for the bell, chime, and flute, as well as two orchestra supervisors, all of whom cannot be removed.
There are three yue players, one of whom can be removed; five qin players, three of whom can be removed; two zhu players, one of whom can be removed; six people in charge of the strings of musical instruments, four of whom can be removed; sixty-two players from the Zhengsihui Orchestra, one in charge of refined music, the remaining sixty-one can be removed; eight players from the Zhangse Orchestra, seven of whom can be removed; twenty drummers from the 'Anshi Orchestra', nineteen of whom can be removed; twelve drummers from Peixian's wind and percussion orchestra, twenty-seven drummers from various ethnic song teams, thirteen from Chenguo's wind and percussion orchestra, fourteen drummers from the Shang Dynasty's orchestra, sixteen drummers from Donghai, thirteen drummers from Changle, and thirteen drummers from Manle, totaling eight orchestras and one hundred and twenty-eight people.
During court ceremonies, a banquet is held in front of the palace, which does not conform to the classic records. The orchestras that should be removed include: five yue players, six drummers from Chudi, thirty musicians who usually follow the orchestra, four elephant keepers who usually follow the orchestra, sixteen musicians who usually follow the orchestra, twenty-nine musicians from the state of Qin, three elephant keepers from the state of Qin, one person who usually follows the musicians from the state of Qin, and nine members of the elegant music team, the ceremonial orchestra.
There are seventeen members in the Chusi Orchestra, twelve members in the Basi Orchestra, twelve members in the Yaosi Orchestra, nineteen members in the Qisi Orchestra, three singers from the state of Cai, six singers from the state of Qi, and five players from the yue, se, zhong, and qing orchestras, all of which are related to the Zheng and Wei styles and can be removed.
There are also one hundred and forty-two students learning musical instruments, with seventy-two responsible for music during banquets for high-ranking officials, and the remaining seventy can be removed. A total of eight hundred and twenty-nine people, of which three hundred and eighty-eight cannot be removed and can be included in the grand orchestra, while the remaining four hundred and forty-one people do not conform to the classic records or are performing the Zheng and Wei styles, and can be removed." The emperor approved this memorial. However, since the people had long been accustomed to this kind of music and no refined music was established to change this trend, the wealthy, officials, and common people remained addicted to it. This ultimately led to a decline in social morality, laying the groundwork for Wang Mang's usurpation of power.
Now the whole country has calmed down, the common people have returned to their hometowns, and more and more people are around. Justice is served, run by good leaders, and everyone's living comfortably and getting richer. It's time to educate people through schools and rituals. Fortunately, there are regulations and systems left by the previous sage kings that can serve as examples for learning and improvement, and good measures can also be continued. Confucius said: "The Yin adapted Xia's rituals, and we know what they changed; the Zhou did the same with Yin's, and we know what they changed; even centuries from now, those who follow the Zhou will leave a clear record of their changes." Now the Han dynasty inherits the Zhou dynasty, but we haven't had a proper ritual system for ages, and we lack a proper system of rituals and music. This is why Jia Yi, Dong Zhongshu, Wang Ji, Liu Xiang, and others feel really bummed out. Confucius said: "The Yin learned from the Xia rituals; the changes are known; the Zhou learned from the Yin rituals; the changes are known; those who will inherit the Zhou dynasty, even after hundreds of generations, will have their changes recorded." This means that as dynasties change, the ritual system will be adjusted according to the actual situation, but we can see how things have changed. The current situation of the Han dynasty is that after a long period of turmoil, the ritual system has been neglected for a long time, which is why many bright minds are worried and regretful. They want to fix the rituals and music to make the Han stronger and the country more peaceful.
