Yue Ji (Record of Music)

凡音之起，由人心生也。人心之動，物使之然也。感於物而動，故形於聲。聲相應，故生變。變成方謂之音。比音而樂之，及干鏚羽旄，謂之樂。樂者，音之所由生也，其本在人心之感於物也。是故其哀心感者，其聲焦以殺；其樂心感者，其聲嘽以緩；其喜心感者，其聲發以散；其怒心感者，其聲粗以厲；其敬心感者，其聲直以廉；其愛心感者，其聲和以柔。六者非性也，感於物而後動。是故先王慎所以感之者。故禮以道其志，樂以和其聲，政以一其行，刑以防其奸。禮樂刑政，其極一也，所以同民心而出治道也。

All sounds arise from the human heart. The movement of the human heart is caused by things. Moved by things and stirred, it shows in sound. Sounds respond to one another, and so give rise to change. When change forms a pattern it is called tone. When tones are arranged and played with instruments, together with shields, axes, feathers, and ox-tails, it is called music. Music is that from which tones come, and its root lies in the human heart being moved by things. So when the heart of sorrow is moved, its sound is urgent and declining; when the heart of pleasure is moved, its sound is broad and slow; when the heart of joy is moved, its sound rises and scatters; when the heart of anger is moved, its sound is coarse and severe; when the heart of reverence is moved, its sound is straight and pure; when the heart of love is moved, its sound is harmonious and gentle. These six are not nature; they are movements that come when moved by things. Therefore the former kings were careful about what moved people. So ritual is used to guide their aims, music to harmonize their sounds, government to unify their conduct, and punishment to guard against their wickedness. Ritual, music, punishment, and government are in their ultimate end one; they are used to unite the people's hearts and bring forth the Way of order.

凡音者，生人心者也。情動於中，故形於聲。聲成文，謂之音。是故治世之音安以樂，其政和。亂世之音怨以怒，其政乖。亡國之音哀以思，其民困。聲音之道與政通矣！宮為君，商為臣，角為民，徵為事，羽為物。五者不亂，則無怙懘之音矣。宮亂則荒，其君驕；商亂則陂，其官壞；角亂則憂，其民怨；徵亂則哀，其事勤；羽亂則危，其財匱。五者皆亂，迭相陵，謂之慢。如此則國之滅亡無日矣！鄭衛之音，亂世之音也，比於慢矣！桑間濮上之音，亡國之音也，其政散，其民流，誣上行私而不可止也。

All tones are born from the human heart. When feeling stirs within, it shows in sound. When sound forms patterns, it is called tone. Therefore the tones of a well-governed age are peaceful and joyful, and their government is harmonious. The tones of a disordered age are resentful and angry, and their government is perverse. The tones of a perishing state are sorrowful and longing, and their people are distressed. The Way of sound and tone is connected with government! Gong is the ruler, shang is the minister, jue is the people, zhi is affairs, and yu is things. If the five are not disordered, there are no ruined tones. If gong is disordered it is dissolute, and the ruler is arrogant; if shang is disordered it is slanting, and the officials are corrupt; if jue is disordered it is anxious, and the people resent; if zhi is disordered it is sorrowful, and affairs are toilsome; if yu is disordered it is precarious, and wealth is scarce. If all five are disordered and in turn encroach on each other, it is called arrogance. In that case the state's destruction is only a matter of days! The tones of Zheng and Wei are the tones of a disordered age, close to arrogance! The tones of Sangjian and Pushang are the tones of a perishing state; their government is scattered, their people drift away, those above deceive, and they pursue private ends without being able to stop.

凡音者，生於人心者也；樂者，通倫理者也。是故知聲而不知音者，禽獸是也；知音而不知樂者，眾庶是也。唯君子為能知樂。是故審聲以知音，審音以知樂，審樂以知政，而治道備矣！是故不知聲者不可與言音，不知音者不可與言樂，知樂則幾於禮矣！禮樂皆得謂之有德。德者，得也。是故樂之隆，非極音也；食饗之禮，非致味也。清廟之瑟，朱弦而疏越，壹倡而三嘆，有遺音者矣！大饗之禮，尚玄酒而俎腥魚，大羹不和，有遺味者矣！是故先王之制禮樂也，非以極口腹耳目之欲也，將以教民平好惡，而反人道之正也。

All tones are born from the human heart; music penetrates human relations and principle. So those who know sounds but do not know tones are beasts; those who know tones but do not know music are the common people. Only the gentleman can know music. Therefore one examines sounds to know tones, examines tones to know music, examines music to know government, and the Way of order is complete! Therefore one who does not know sounds cannot be discussed tones with, and one who does not know tones cannot be discussed music with. Knowing music brings one close to ritual! One who has attained both ritual and music is said to have virtue. Virtue is attainment. Therefore the grandeur of music does not lie in exhausting tone; the ritual of feasting does not lie in exhausting flavor. The zither of the Qing Miao has red strings and sparse holes, one person leads and three respond; it has lingering tone! The great sacrificial feast values plain water, the stand holds raw fish, and the great soup is unseasoned; it has lingering flavor! Therefore the former kings, in establishing ritual and music, did not do so to exhaust the desires of the mouth, belly, ears, and eyes, but to teach the people to level their likes and dislikes and return to the correct human Way.

人生而靜，天之性也。感於物而動，性之慾也。物至知知，然後好惡形焉。好惡無節於內，知誘於外，不能反躬，天理滅矣。夫物之感人無窮，而人之好惡無節，則是物至而人化物也。人化物也者，滅天理而窮人慾者也。於是有悖逆詐偽之心，有淫泆作亂之事，是故強者脅弱，眾者暴寡，知者詐愚，勇者苦怯，疾病不養，老幼孤獨不得其所。此大亂之道也。是故先王之制禮樂，人為之節。衰麻哭泣，所以節喪紀也；鐘鼓干鏚，所以和安樂也；昏姻冠笄，所以別男女也；射鄉食饗，所以正交接也。禮節民心，樂和民聲，政以行之，刑以防之，禮樂刑政四達而不悖，則王道備矣！

A person is born still; this is the nature given by Heaven. Moved by things and stirring, this is the desire of nature. Things come and wisdom recognizes them, and then likes and dislikes appear. When likes and dislikes within have no restraint and wisdom is lured by the outside and cannot return to itself, Heavenly principle is destroyed. Things move people without end, and if people's likes and dislikes have no restraint, then things come and people are transformed by things. For people to be transformed by things is to destroy Heavenly principle and exhaust human desire. Then there arise rebellious and deceitful hearts and licentious, disorderly deeds. So the strong coerce the weak, the many bully the few, the clever cheat the simple, the brave torment the timid, the sick are not cared for, and the old, young, orphaned, and solitary have no place to live. This is the Way of great disorder. Therefore the former kings established ritual and music, setting restraints for people. Mourning garments and weeping are used to regulate the rules of funeral affairs; bells, drums, shields, and axes are used to harmonize joy and peace; marriage and the capping and hairpin ceremonies are used to distinguish men and women; archery, the district drinking ceremony, and feasts are used to correct dealings between people. Ritual restrains the people's hearts, music harmonizes the people's voices, government is used to carry them out, and punishment is used to guard against abuses. When these four, ritual, music, punishment, and government, are thoroughly applied and do not conflict, the kingly Way is complete!

樂者為同，禮者為異。同則相親，異則相敬。樂勝則流，禮勝則離。合情飾貌者，禮樂之事也。禮義立則貴賤等矣，樂文同則上下和矣，好惡著則賢不肖別矣，刑禁暴、爵舉賢則政均矣。仁愛以之，義以正之，如此則民治行矣。樂由中出，禮自外作。樂由中出故靜，禮自外作故文。大樂必易，大禮必簡。樂至則無怨，禮至則不爭，揖讓而治天下者，禮樂之謂也。暴民不作，諸侯賓服，兵革不試，五刑不用，百姓無患，天子不怒，如此則樂達矣。合父子之親，明長幼之序，以敬四海之內，天子如此，則禮行矣。

Music makes for sameness, ritual makes for difference. With sameness there is mutual closeness; with difference there is mutual respect. When music prevails too much, there is drifting and flooding; when ritual prevails too much, there is separation and splitting. Uniting feelings and adorning appearances are the business of ritual and music. When ritual and righteousness are established, noble and humble have rank; when the patterns of music are alike, high and low are harmonious; when likes and dislikes are clear, the worthy and unworthy are distinguished; when punishment checks the violent and rank raises the worthy, government is even. Love with humaneness and correct with righteousness, and in this way the governing of the people is carried out. Music comes from within, ritual is made from without. Because music comes from within, it is still; because ritual is made from without, it has pattern. Great music is surely plain and easy, great ritual is surely simple. When music arrives, there is no resentment; when ritual arrives, there is no strife. Governing the world by bowing and yielding refers to ritual and music. When violent people do not arise, the feudal lords submit as guests, weapons and armor are not tried, the five punishments are not used, the people have no calamities, and the Son of Heaven is not angry, then music has penetrated. Uniting the closeness of father and son, making clear the order of old and young, and so bringing respect to all within the four seas: if the Son of Heaven is like this, then ritual is in effect.

大樂與天地同和，大禮與天地同節。和故百物不失，節故祀天祭地。明則有禮樂，幽則有鬼神，如此，則四海之內合敬同愛矣！禮者殊事，合敬者也；樂者異文，合愛者也。禮樂之情同，故明王以相沿也。故事與時並，名與功偕。

Great music is in the same harmony as Heaven and Earth; great ritual has the same measure as Heaven and Earth. Because of harmony, the hundred things are not lost; because of measure, there are sacrifices to Heaven and Earth. In the visible there are ritual and music; in the hidden there are ghosts and spirits. When this is so, within the four seas all are united in respect and in one love! Ritual unites respect through different affairs; music unites love through different patterns. The feelings of ritual and music are the same, and therefore enlightened kings have used them in succession. Therefore affairs match the times, and names go together with accomplishments.

故鐘鼓管磬，羽鑰干鏚，樂之器也；屈伸俯仰，綴兆舒疾，樂之文也；簠簋俎豆，制度文章，禮之器也；升降上下，周還裼襲，禮之文也。故知禮樂之情者能作，識禮樂之文者能述。作者之謂聖，述者之謂明。明聖者，述作之謂也。

Therefore bells, drums, pipes, chime stones, feather wands, flutes, shields, and axes are the instruments of music; bending and stretching, bowing and raising, rows and positions, slowness and speed are the patterns of music. Vessels like the gui and fu, stands and dishes, the regulations and ornaments are the instruments of ritual; ascending and descending, up and down, turning around, being bare-shouldered or covered are the patterns of ritual. Therefore those who know the feelings of ritual and music can create; those who recognize the patterns of ritual and music can transmit. Those who create are called sages; those who transmit are called enlightened. Enlightened and sage refer to transmitting and creating.

樂者，天地之和也；禮者，天地之序也。和故百物皆化，序故群物皆別。樂由天作，禮以地制。過制則亂，過作則暴。明於天地，然後能興禮樂也。論倫無患，樂之情也；欣喜歡愛，樂之官也；中正無邪，禮之質也；莊敬恭順，禮之制也。若夫禮樂之施於金石，越於聲音，用於宗廟社稷，事乎山川鬼神，則此所與民同也。

Music is the harmony of Heaven and Earth; ritual is the order of Heaven and Earth. Because of harmony, the hundred things are all transformed and nurtured; because of order, the many things are all distinguished. Music is created by Heaven, and ritual is set according to Earth. Exceeding in regulation brings disorder, and exceeding in creation brings violence. Understanding Heaven and Earth, one can then raise up ritual and music. To discuss human relations and principle without harm is the feeling of music; to rejoice and love is the function of music; to be correct and without depravity is the substance of ritual; to be solemn, reverent, and obedient is the regulation of ritual. As for ritual and music applied to bells and stones, carried over into sounds, and used in ancestral temples and altars of the land and grain and in serving mountains, rivers, ghosts, and spirits, these are shared with the people.

王者功成作樂，治定製禮。其功大者其樂備，其治辯者其禮具。干鏚之舞，非備樂也；孰亨而祀，非達禮也。五帝殊時，不相頌樂；三王異世，不相襲禮。樂極則憂，禮粗則偏矣！及夫敦樂而無憂、禮備而不偏者，其唯大聖乎！

When a king's achievements are accomplished, he creates music; when his governance is settled, he establishes ritual. Where his achievements are great, his music is complete; where his governance is thorough, his ritual is full. The dance of shields and axes is not complete music; sacrifices of boiled and cooked food are not ritual that penetrates everywhere. The Five Emperors lived in different ages and did not praise one another's music; the Three Kings lived in different generations and did not follow one another's ritual. Music carried to the extreme brings anxiety, and ritual that is coarse becomes lopsided! As for being generous in music without anxiety and complete in ritual without lopsidedness, probably only a great sage can do that!

天高地下，萬物散殊，而禮制行矣。流而不息，合同而化，而樂興焉。春作夏長，仁也；秋斂冬藏，義也。仁近於樂，義近於禮。樂者敦和，率神而從天；禮者別宜，居鬼而從地。故聖人作樂以應天，制禮以配地。禮樂明備，天地官矣。天尊地卑，君臣定矣。卑高已陳，貴賤位矣。動靜有常，小大殊矣。方以類聚，物以群分，則性命不同矣。在天成象，在地成形。如此，則禮者天地之別也。地氣上齊，天氣下降，陰陽相摩，天地相蕩，鼓之以雷霆，奮之以風雨，動之以四時，暖之以日月，而百化興焉。如此，則樂者天地之和也。化不時則不生，男女無辨則亂升，天地之情也。及夫禮樂之極乎天而蟠乎地，行乎陰陽而通乎鬼神，窮高極遠而測深厚。樂著大始而禮居成物。著不息者，天也；著不動者，地也。一動一靜者，天地之間也。故聖人曰禮樂雲。

Heaven is high and Earth is low, the myriad things are scattered and different, and so the regulations of ritual are put into practice. Flowing without rest, uniting and transforming, music arises. Spring begins and summer grows: that is benevolence; autumn gathers and winter stores: that is righteousness. Benevolence is close to music, and righteousness is close to ritual. Music is generous and harmonious, following the spirits and accompanying Heaven; ritual distinguishes what is fitting, settling the ghosts and accompanying Earth. So the sage creates music to respond to Heaven and sets up ritual to match Earth. When ritual and music are clear and complete, Heaven and Earth each hold their office. Heaven is honored and Earth is lowly, and the positions of ruler and minister are fixed. Once low and high are laid out, noble and humble have their places. Movement and rest have their constancy, and small and large are differentiated. When things gather by kind and beings are separated by group, their natures and destinies differ. In Heaven images are formed, on Earth shapes are formed. Thus ritual is the distinction of Heaven and Earth. The qi of Earth rises and the qi of Heaven descends, yin and yang rub against each other, Heaven and Earth stir each other; they are drummed by thunder and lightning, roused by wind and rain, set in motion by the four seasons, warmed by the sun and moon, and the hundred things are transformed and flourish. Thus music is the harmony of Heaven and Earth. If transformation is not in its season, nothing is born; if men and women are not distinguished, disorder arises: this is the nature of Heaven and Earth. As for ritual and music, they reach to the utmost of Heaven and coil about Earth, travel through yin and yang and communicate with the ghosts and spirits, exhaust the high and far and measure the deep and thick. Music displays the great beginning, while ritual dwells in the completed things. What is displayed without rest is Heaven; what is displayed without moving is Earth. What moves once and rests once is what lies between Heaven and Earth. So the sage speaks of ritual and music.

昔者舜作五絃之琴以歌南風，夔始制樂，以賞諸侯。

Of old Shun made the five-string zither and sang the Southern Wind, and Kui first established music in order to reward the feudal lords.

故天子之為樂也，以賞諸侯之有德者也。德盛而教尊，五穀時熟，然後賞之以樂。故其治民勞者，其舞行綴遠；其治民逸者，其舞行綴短。故觀其舞，知其德；聞其諡，知其行也。

So the Son of Heaven makes music in order to reward feudal lords who have virtue. When virtue is great and teaching is honored, and the five grains ripen in season, he then rewards with music. So where the lord's governance of his people is toilsome, the rows of his dancers are spaced far apart; where his governance of his people is easy, the rows of his dancers are close. So by watching his dance one knows his virtue, and by hearing his posthumous name one knows his conduct.

大章，章之也。咸池，備矣。韶，繼也。夏，大也。殷周之樂盡矣！天地之道，寒暑不時則疾，風雨不節則飢。教者，民之寒暑也，教不時則傷世；事者，民之風雨也，事不節則無功。然則先王之為樂也，以法治也，善則行象德矣。

The Da Zhang means making it manifest. The Xian Chi means it is complete. The Shao means continuing. The Xia means great. The music of the Yin and Zhou is finished! The way of Heaven and Earth: when cold and heat are not in season, there is sickness; when wind and rain are not moderate, there is famine. Teaching is the cold and heat of the people, and if teaching is not in season it harms the age; affairs are the wind and rain of the people, and if affairs are not moderate there is no achievement. So the former kings made music, governed through it by law, and when it was good their conduct came to resemble virtue.

夫豢豕為酒，非以為禍也，而獄訟益繁，則酒之流生禍也。是故先王因為酒禮。壹獻之禮，賓主百拜，終日飲酒而不得醉焉，此先王之所以備酒禍也。故酒食者，所以合歡也；樂者，所以象德也；禮者，所以綴淫也。是故先王有大事，必有禮以哀之；有大福，必有禮以樂之。哀樂之分，皆以禮終。樂也者，聖人之所樂也，而可以善民心。其感人深，其移風易俗，故先王著其教焉。

Raising pigs and making wine was not done to create calamity, yet lawsuits grow ever more numerous, because the flowing excess of wine gives rise to calamity. So the former kings set up the rites of wine. In the rite of a single offering, host and guest bow a hundred times, and one may drink all day without becoming drunk; this is how the former kings guarded against the calamity of wine. So wine and food are for gathering joy; music is for representing virtue; ritual is for stopping excess. So when the former kings had a great sorrow, there was always ritual to mourn it; when they had a great blessing, there was always ritual to rejoice in it. The limits of sorrow and joy were all ended by ritual. Music is what the sages delight in, and it can make the people's hearts good. It moves people deeply, and it shifts habits and changes customs, so the former kings made its teaching clear.

夫民有血氣心知之性，而無哀樂喜怒之常，應感起物而動，然後心術形焉。是故志微噍殺之音作而民思憂，嘽諧慢易繁文簡節之音作而民康樂，粗厲猛起奮末廣賁之音作而民剛毅，廉直勁正莊誠之音作而民肅敬，寬裕肉好順成和動之音作而民慈愛，流辟邪散狄成滌濫之音作而民淫亂。

People have the nature of blood and breath and the mind's knowing, but have no constancy of sorrow, joy, pleasure and anger; they are moved in response and rise as things arouse them, and only then do the arts of the mind appear. So when sounds of fine will and urgent decline arise, the people think and are anxious; when sounds that are broad, harmonious, slow and easy, rich in pattern and simple in beat arise, the people are at ease and happy; when sounds that are rough, fierce, abruptly rising, bursting at the tail, broad and swollen arise, the people are firm and tough; when sounds that are pure and upright, strong and correct, grave and trustworthy arise, the people are solemn and reverent; when sounds that are generous, rich and smooth, harmonious in their beginning arise, the people are loving and kind; when sounds that are flowing, wicked, scattered, quick in finishing and overflowing arise, the people are lewd and disorderly.

是故先王本之情性，稽之度數，制之禮義。合生氣之和，道五常之行，使之陽而不散，陰而不密，剛氣不怒，柔氣不懾。四暢交於中，而發作於外，皆安其位而不相奪也。然後立之學等，廣其節奏，省其文采，以繩德厚。律小大之稱，比終始之序，以象事行。使親疏、貴賤、長幼、男女之理皆形見於樂。故曰：“樂觀其深矣！”土敝則草木不長，水煩則魚鱉不大，氣衰則生物不遂，世亂則禮慝而樂淫。是故其聲哀而不莊，樂而不安，慢易以犯節，流湎以忘本。廣則容奸，狹則思欲，感條暢之氣，而滅平和之德。是以君子賤之也。

So the former kings took feelings and nature as the root, examined measures and numbers, and regulated them by ritual and righteousness. They joined the harmony of the breath of life, guided the conduct of the five constant virtues, and made it so that yang does not scatter, yin does not close up tightly, the firm breath does not become angry, and the soft breath does not become fearful. When these four are fully open within and meet each other, and are produced outwardly, all rest in their places and do not encroach on each other. Then they set up the grades of study, broadened its rhythm, examined its patterns, so as to weigh the thickness of virtue. They regulated the fitness of small and large, ordered the sequence of beginning and end, so as to represent the carrying out of affairs. They made the principles of near and distant, noble and humble, old and young, man and woman all appear in music. So it is said: "Observing music, how profound its meaning!" When the soil is exhausted, grass and trees do not grow; when water is troubled, fish and turtles do not grow large; when qi declines, living things do not thrive; when the age is disordered, ritual is wicked and music overflows. So its sound is sad and not grave, joyful and not settled, slow and easy and transgressing the beat, lingering and sunk in indulgence and forgetting the root. If broad, it admits wickedness; if narrow, it broods on desire; it stirs the dissolute breath and destroys the harmonious virtue. So the gentleman despises it.

凡奸聲感人，而逆氣應之。逆氣成象，而淫樂興焉。正聲感人，而順氣應之。順氣成象，而和樂興焉。倡和有應，回邪曲直，各歸其分，而萬物之理，各以類相動也。是故君子反情以和其志，比類以成其行。奸聲亂色，不留聰明；淫樂慝禮，不接心術；惰慢邪辟之氣，不設於身體。使耳目、鼻口、心知、百體皆由順正，以行其義，然後發以聲音，而文以琴瑟，動以干鏚，飾以羽旄，從以簫管，奮至德之光，動四氣之和，以著萬物之理。是故清明象天，廣大象地，終始象四時，周還象風雨，五色成文而不亂，八風從律而不奸，百度得數而有常。大小相成，終始相生，倡和清濁，迭相為經。故樂行而倫清，耳目聰明，血氣和平，移風易俗，天下皆寧。

Whenever a wicked sound moves people, a rebellious breath responds to it. When the rebellious breath takes form, lewd music arises. When a proper sound moves people, a compliant breath responds to it. When the compliant breath takes form, harmonious music arises. Where leading and answering have their echo, the crooked and the straight each go to their proper place, and the principles of the myriad things move each other according to kind. So the gentleman returns to his feelings to harmonize his will, and matches kinds to complete his conduct. Wicked sounds and disordered colors are not kept in his hearing and sight; lewd music and wicked ritual do not reach his mind; lazy, slack and perverse breath is not placed in his body. He makes ears and eyes, nose and mouth, mind and knowledge and the hundred parts of the body all follow what is compliant and correct, in order to practice righteousness. Then he gives it voice and adorns it with zithers; stirs it with shields and axes and adorns it with feathers and yak tails; follows it with flutes and pipes; rouses the light of supreme virtue and stirs the harmony of the four breaths, in order to make clear the principles of the myriad things. So clarity represents Heaven, breadth represents Earth, beginning and end represent the four seasons, and turning about represents wind and rain. The five colors form patterns without disorder, the eight winds follow the pitch-pipes without deviation, the hundred kinds of measure obtain their number and have constancy. Large and small complete each other, beginning and end give birth to each other, leading and answering, clear and turbid, in turn make each other constant. So when music is practiced, human relations and categories are clear, ears and eyes are keen, blood and breath are balanced, customs are shifted and habits changed, and all under Heaven are at peace.

故曰：“樂者樂也。君子樂得其道，小人樂得其欲。”以道制欲，則樂而不亂；以欲忘道，則惑而不樂。

So it is said: "Music is joy. The gentleman rejoices in obtaining his Way, and the petty man rejoices in obtaining his desires." If one governs desire with the Way, one is joyful and not disordered; if one forgets the Way because of desire, one is confused and not joyful.

是故君子反情以和其志，廣樂以成其教。樂行而民鄉方，可以觀德矣。德者，性之端也；樂者，德之華也；金石絲竹，樂之器也。詩，言其志也；歌，詠其聲也；舞，動其容也。三者本於心，然後樂器從之。是故情深而文明，氣盛而化神，和順積中而英華髮外，唯樂不可以為偽。

So the gentleman returns to his feelings to harmonize his will, and broadens music to complete his teaching. When music is practiced, the people turn toward the right way, and virtue can be observed. Virtue is the beginning of nature; music is the flower of virtue; metal, stone, strings and bamboo are the instruments of music. Poetry gives voice to the will; song chants its sound; dance moves its bearing. These three are rooted in the heart, and then the instruments follow. So when feeling is deep, form is clear; when breath is full, transformation reaches the divine; when harmony and gentleness are accumulated within, the blossoming glory shows outside. Only music cannot be faked.

樂者，心之動也；聲者，樂之象也；文采節奏，聲之飾也。君子動其本，樂其象，然後治其飾。是故先鼓以警戒，三步以見方，再始以著往，復亂以飭歸。奮疾而不拔，極幽而不隱。獨樂其志，不厭其道，備舉其道，不私其欲。是故情見而義立，樂終而德尊。君子以好善，小人以聽過。故曰：“生民之道，樂為大焉。”

Music is the movement of the heart; sound is the image of music; pattern and rhythm are the adornment of sound. The gentleman stirs the root, rejoices in the image, and then orders the adornment. So he first strikes the drum to warn, in three steps shows the direction, begins again to show the going, and ends again to put the return in order. Stirred up and swift but not hasty, reaching the extreme of depth but not obscure. He rejoices alone in his will and does not tire of his Way; he carries out the Way completely and does not make his desire private. So feeling shows and righteousness is established, music ends and virtue is honored. The gentleman thereby loves the good, and the petty man thereby hears his faults. So it is said: "In the way of nourishing the people, music is the greatest."

樂也者，施也；禮也者，報也；樂，樂其所自生，而禮反其所自始。樂章德，禮報情，反始也。

Music is bestowing; ritual is repaying. Music rejoices in that from which it is born, and ritual returns to that from which it began. Music makes virtue clear; ritual repays feeling and returns to the beginning.

所謂大輅者，天子之車也。龍旗九旒，天子之旌也；青黑緣者，天子之寶龜也；從之以牛羊之群，則所以贈諸侯也。

What is called the great carriage is the Son of Heaven's carriage. The dragon banner with nine pendants is the Son of Heaven's flag; the treasure tortoise with a dark-bordered shell is the Son of Heaven's treasure; and the herds of cattle and sheep that follow it are given to the feudal lords.

樂也者，情之不可變者也。禮也者，理之不可易者也。樂統同，禮辨異。禮樂之說管乎人情矣！

Music is the unchangeable side of feeling. Ritual is the unalterable side of principle. Music unites what is the same, and ritual distinguishes what differs. The teaching of ritual and music runs through human feeling!

窮本知變，樂之情也；著誠去偽，禮之經也。禮樂偩天地之情，達神明之德，降興上下之神，而凝是精粗之體，領父子君臣之節。

To exhaust the root and know transformation is the feeling of music; to make sincerity clear and remove falseness is the constancy of ritual. Ritual and music assist the feelings of Heaven and Earth, reach the virtue of the spirits, bring down and raise the spirits above and below, and gather together this body of the fine and coarse, governing the measures of father and son, ruler and minister.

是故大人舉禮樂，則天地將為昭焉。天地欣合，陰陽相得，煦嫗覆育萬物，然後草木茂，區萌達，羽翼奮，角觡生，蟄蟲昭蘇，羽者嫗伏，毛者孕鬻，胎生者不殰，而卵生者不殈，則樂之道歸焉耳。

So when great men practice ritual and music, Heaven and Earth will be made bright by it. Heaven and Earth come together joyfully, yin and yang are in harmony, warmth covers and nurtures the myriad things, and then grasses and trees flourish, sprouts open, feathers and wings rise, bones and horns grow, hibernating insects awake, feathered creatures hatch and brood, furred creatures conceive, live-born do not miscarry, and egg-born do not burst and fail; then the Way of music has come to this.

樂者，非謂黃鐘大呂絃歌幹揚也，樂之末節也，故童者舞之。鋪筵席，陳尊俎，列籩豆，以升降為禮者，禮之末節也，故有司掌之。樂師辨乎聲詩，故北面而弦。宗祝辨乎宗廟之禮，故後屍。商祝辨乎喪禮，故後主人。是故德成而上，藝成而下，行成而先，事成而後。是故先王有上有下，有先有後，然後可以有制於天下也。

Music does not mean the Huangzhong and Dalu pitch-pipes, strings and song, shields and raised weapons; those are the minor details of music, which is why boys dance them. Spreading mats, setting out wine vessels and stands, arranging the bamboo and wooden dishes, and treating ascending and descending as ritual are the minor details of ritual, which is why the officials manage them. The music master distinguishes sound and poetry, and so plays the zither facing north. The clan invocator distinguishes the rites of the ancestral temple, and so stands behind the impersonator. The Shang invocator distinguishes the funeral rites, and so stands behind the host. So virtue is completed and stands above, skill is completed and stands below, conduct is completed and stands first, and service is completed and stands after. So the former kings had above and below, first and after, and only then could they establish institutions for the world.

魏文侯問於子夏曰：“吾端冕而聽古樂，則唯恐臥。聽鄭衛之音，則不知倦。敢問古樂之如彼，何也？新樂之如此，何也？”子夏對曰：“今夫古樂，進旅退旅，和正以廣，弦匏笙簧，會守拊鼓。始奏以文，復亂以武，治亂以相，訊疾以雅。君子於是語，於是道古，修身及家，平均天下，此古樂之發也。今夫新樂，進俯退俯，奸聲以濫，溺而不止。及優侏儒獶雜子女，不知父子。樂終不可以語，不可以道古。此新樂之發也。今君之所問者樂也，所好者音也。夫樂者，與音相近而不同。”文侯曰：“敢問何如？”子夏對曰：“夫古者天地順而四時當，民有德而五穀昌，疾疢不作而無妖祥，此之謂大當。然後聖人作，為父子君臣以為紀綱。紀綱既正，天下大定。天下大定，然後正六律、和五聲，絃歌詩頌，此之謂德音。德音之謂樂。詩云：‘莫其德音，其德克明。克明克類，克長克君。王此大邦，克順克俾。俾於文王，其德靡悔。既受帝祉，施於孫子。’此之謂也。今君之所好者，其溺音乎？”文侯曰：“敢問溺音何從出也？”子夏對曰：“鄭音好濫淫志，宋音燕女溺志，衛音趨數煩志，齊音敖闢喬志。此四者皆淫於色而害於德，是以祭祀弗用也。《詩》云：‘肅雍和鳴，先祖是聽。’夫肅肅，敬也，雍雍，和也。夫敬以和，何事不行？為人君者，謹其所好惡而已矣！君好之，則臣為之；上行之，則民從之。《詩》云：‘誘民孔易’，此之謂也。然後聖人作為鼗、鼓、椌、楬、壎、箎，此六者，德音之音也。然後鐘磬竽瑟以和之，干鏚旄狄以舞之，此所以祭先王之廟也，所以獻酬酳酢也，所以官序貴賤各得其宜也，所以示後世有尊卑長幼之序也。鐘聲鏗，鏗以立號，號以立橫，橫以立武。君子聽鐘聲則思武臣。石聲磬，磬以立辨，辨以致死。君子聽磬聲則思死封疆之臣。絲聲哀，哀以立廉，廉以立志。

Marquis Wen of Wei asked Zixia: "When I put on the court robe and cap and listen to ancient music, I fear only that I will fall asleep. When I listen to the tunes of Zheng and Wei, I do not know weariness. May I ask why ancient music is like that, and why new music is like this?" Zixia replied: "As for that ancient music, they advance together and withdraw together, harmonious, correct and broad; strings, gourds, reed organs and mouth organs are all held in time with the hand drum and the drum. It begins with the civil piece and ends with the martial piece; the end of the governing section is marked by the xiang drum, and when it grows urgent it is quickened with the ya instrument. In this time the gentleman speaks and praises the ancient, cultivates his own person and extends it to the family, and brings peace to the world. This is the revelation of ancient music. As for that new music, they advance bent over and withdraw bent over, with licentious sounds overflowing, sunk in them and unable to stop. And there are actors and dwarfs, men and women mixed together, not knowing father and son. When the music ends one cannot discuss it or praise the ancient with it. This is the revelation of new music. Now what you ask about is music, but what you like is sound. Music and sound are close but not the same." The Marquis said: "May I ask how?" Zixia replied: "In antiquity Heaven and Earth were compliant and the four seasons were suitable; the people had virtue and the five grains flourished; disease did not arise and there were no monstrous portents; this is called great fitness. Then the sages arose and established the bonds of father and son, ruler and minister as the guiding threads. Once the guiding threads were set right, the world was greatly settled. When the world was greatly settled, they then corrected the six pitch-pipes and harmonized the five tones, and sang the poems and hymns to strings; this is called virtuous sound. Virtuous sound alone is called music. The Book of Poetry, in the ode Huang Yi in the Greater Odes, says: 'Quiet is that virtuous sound, and his virtue is able to be made manifest. Able to be made manifest, able to discern, he is able to be a leader and able to be a ruler. King over this great state, he is able to be compliant and able to be matched. Matched down to King Wen, his virtue has no regret. He has already received the blessing of God, and it extends to his descendants.' This is what is meant. Now what you like is, I suppose, the sound of indulgence?" The Marquis said: "May I ask where the sound of indulgence comes from?" Zixia replied: "The sound of Zheng likes excess and makes the will overflow into lewdness; the sound of Song is at ease with women and sunk in sensuality and makes the will drown; the sound of Wei is hurried and frequent and makes the will vexed and disordered; the sound of Qi is haughty and perverse and makes the will arrogant. These four all indulge in lust and harm virtue, so they are not used in sacrifices. The Book of Poetry, in the hymn You Gu in the Odes of Zhou, says: 'Solemn and harmonious they sound together, and the ancestors listen to it.' Solemn means reverent, harmonious means in concord. Reverent and harmonious, what cannot be done? One who is a ruler need only be careful about what he likes and dislikes! If the ruler likes something, the ministers will do it; if the superior practices it, the people will follow it. The Book of Poetry, in the ode Ban in the Greater Odes, says: 'Leading the people is very easy.' This is what is meant. Then the sages made the small drum, the drum, the instruments that mark starting and stopping, the clay ocarina and the bamboo flute; these six are the sounds of virtuous sound. Then the bells, chime stones, reed organs and zithers answered them, and shields, axes, yak tails and feathers danced to them; these are used to sacrifice in the temples of the former kings, to offer the cup and rinse the mouth and return it, to make the order of officials and the noble and humble each suit their place, and to show later ages that there is an order of honored and humble, old and young. The sound of bells is ringing; ringing is used to establish commands, commands to establish fullness, and fullness to establish martial spirit. The gentleman hears the sound of bells and thinks of his martial ministers. The sound of stone is like a chime stone; the chime stone is used to establish discernment, and discernment to deliver commands. The gentleman hears the sound of the chime stone and thinks of ministers who died at the border. The sound of strings is sad; sadness is used to establish integrity, and integrity to establish the will.

君子聽琴瑟之聲則思志義之臣。竹聲濫，濫以立會，會以聚。眾君子聽竽笙簫管之聲則思畜聚之臣。鼓鼙之聲讙，讙以立動，動以進眾。君子聽鼓鼙之聲則思將帥之臣。君子之聽音，非聽其鏗鎗而已也，彼亦有所合之也。”

When the gentleman hears the sound of zithers he thinks of ministers with will and righteousness. The sound of bamboo is broad and spreading; being broad is used to establish assembly, and assembly to gather. Gentlemen hearing the sound of reed organs, mouth organs, vertical flutes and pipes think of ministers who collect and store. The sound of the drum and the small drum is noisy; noisiness is used to establish stirring, and stirring to advance the multitude. The gentleman hearing the sound of drums thinks of the ministers who are generals and commanders. When the gentleman listens to music, he does not merely listen to the ringing; there is also something that comes together in it.

賓牟賈侍坐於孔子，孔子與之言及樂，曰：“夫武之備戒之已久，何也？”對曰：“病不得其眾也。”“詠歎之，淫液之，何也？”對曰：“恐不逮事也。”“發揚蹈厲之已蚤，何也？”對曰：“及時事也。”“武坐致右憲左，何也？”對曰：“非武坐也。”“聲淫及商，何也？”對曰：“非武音也。”子曰：“若非武音，則何音也？”對曰：“有司失其傳也。若非有司失其傳，則武王之志荒矣。”子曰：“唯。丘之聞諸萇弘，亦若吾子之言是也。”賓牟賈起，免席而請曰：“夫武之備戒之已久，則既聞命矣，敢問遲之遲而又久，何也？”子曰：“居，吾語汝。夫樂者，象成者也。摠明堂，而民知孝。朝覲，然後諸侯知所以臣。耕借，然後諸侯知所以敬。五者，天下之大教也。食三老五更於大學，天子袒而割牲，執醬而饋，執爵而酳，冕而摠幹，所以教諸侯之弟也。若此，則周道四達，禮樂交通，則夫武之遲久，不亦宜乎？”

Bin Moujia sat in attendance at Confucius's side, and Confucius spoke with him about music, saying: "The warning preparation of the Wu dance goes on very long; why is that?" He replied: "It is the worry of not winning over the crowd." "Why the sighing and lingering?" He replied: "It is the fear of not being in time for the event." "Why do the stamping and brandishing begin so early?" He replied: "It is to be in time for the occasion." "In the Wu, why is the right knee on the ground and the left raised?" He replied: "That is not the sitting of the Wu." "Why does the sound overflow toward the Shang?" He replied: "That is not the sound of the Wu." Confucius said: "If it is not the sound of the Wu, then what sound is it?" He replied: "The officials lost its transmission. If the officials had not lost its transmission, then the will of King Wu would have been lost." Confucius said: "Yes. I heard it from Chang Hong, and it was just as you say." Bin Moujia rose, left his mat and asked: "The warning preparation of the Wu going on very long I have already heard taught. May I ask why it is slow, slower still, and long?" Confucius said: "Sit down, and I will tell you. Music represents accomplishment. To hold the Mingtang as a whole is for the people to know filial piety. At the audience, the feudal lords know how to be ministers. In plowing the ritual field, the feudal lords know what it is to be reverent. These five are the great teachings of the world. When the Three Elders and Five Seniors are fed at the Great Academy, the Son of Heaven bares his arm and carves the meat, holds the sauce to offer food, holds the cup to offer wine and rinse the mouth, and wears the cap and holds a shield; this is used to teach the feudal lords brotherly respect. Thus the way of the Zhou reaches in the four directions and ritual and music communicate with each other; so is the slowness and length of the Wu not also fitting?"

君子曰：“禮樂不可斯須去身。”致樂以治心，則易直子諒之心油然生矣。易直子諒之心生則樂，樂則安，安則久，久則天，天則神。天則不言而信，神則不怒而威。致樂以治心者也。致禮以治躬則莊敬，莊敬則嚴威。心中斯須不和不樂，而鄙詐之心入之矣；外貌斯須不莊不敬，而易慢之心入之矣。故樂也者，動於內者也；禮也者，動於外者也。樂極和，禮極順。內和而外順，則民瞻其顏色而弗與爭也，望其容貌而民不生易僈焉。故德輝動於內，而民莫不承聽；理髮諸外，而民莫不承順。故曰：“致禮樂之道，舉而錯之天下無難矣！”樂也者，動於內者也；禮也者，動於外者也。故禮主其減，樂主其盈。禮減而進，以進為文；樂盈而反，以反為文。禮減而不進則銷，樂盈而不反則放。故禮有報而樂有反。禮得其報則樂，樂得其反則安。禮之報，樂之反，其義一也。

The gentleman said: "Ritual and music cannot be left aside from the person even for a moment." By fully carrying out music to govern the heart, a heart of ease, uprightness, kindness and good faith arises of itself. When a heart of ease, uprightness, kindness and good faith arises there is joy; with joy there is calm; with calm there is permanence; with permanence one is like Heaven; being like Heaven one is like a spirit. Like Heaven, one does not speak yet is trusted; like a spirit, one does not become angry yet has awe. This is carrying music to the utmost to govern the heart. Carrying ritual to the utmost to govern the body makes it grave, and being grave gives dignity. If the heart is not in harmony and joy for even a moment, a mean and deceitful heart enters; if the outward bearing is not grave and reverent for even a moment, a heart of laxness and neglect enters. So music moves within, and ritual moves without. Music carried to the utmost is harmony, and ritual carried to the utmost is compliance. When there is harmony within and compliance without, the people look at his countenance and do not contend with him, see his bearing and no laxness arises in the people. So when the radiance of virtue moves within, none among the people fail to receive and obey it; when principle shows outwardly, none among the people fail to receive and comply. So it is said: "By fully carrying out the Way of ritual and music, one lifts it and applies it to the world and finds nothing difficult!" Music moves within; ritual moves without. So ritual takes diminishing as its main thing, and music takes fullness as its main thing. Ritual diminishes and advances, and takes advancing as its pattern; music fills and returns, and takes returning as its pattern. If ritual diminishes without advancing, it is eaten away; if music fills without returning, it runs wild. So ritual has repayment and music has return. When ritual gets its repayment there is joy, and when music gets its return there is calm. The repayment of ritual and the return of music have one meaning.

夫樂者，樂也，人情之所不能免也。樂必發於聲音，形於動靜。人之道也，聲音動靜，性術之變，盡於此矣！故人不耐無樂，樂不耐無形，形而不為道，不耐無亂。先王恥其亂，故制雅頌之聲以道之，使其聲足樂而不流，使其文足論而不息，使其曲直繁瘠廉肉節奏足以感動人之善心而已矣！不使放心邪氣得接焉，是先王立樂之方也。

Music is joy, which human feeling cannot do without. Music must be expressed in sound and shown in movement and rest. The way of humankind, with sound, movement and rest and the changes of the arts of nature, is all in this! So people cannot be without music, music cannot be without form, and if it has form but does not accord with the Way, it cannot but fall into disorder. The former kings were ashamed of that disorder, and so they established the sounds of the Ya and Song odes to guide it, so that the sound would be enough to give joy without flowing to excess, the words enough to be discussed without stopping, and the curves and straights, fullness and simplicity, clear and turbid, richness and rhythm enough to move people's good hearts, nothing more! They did not let a dissolute heart or wicked breath have a way in; this was the direction in which the former kings established music.

是故，樂在宗廟之中，君臣上下同聽之，則莫不和敬。在族長鄉里之中，長幼同聽之，則莫不和順。在閨門之內，父子兄弟同聽之，則莫不和親。故樂者，審一以定和，比物以飾節，節奏合以成文。所以合和父子君臣，附親萬民也。是先王立樂之方也。故聽其雅頌之聲，志意得廣焉。執其干鏚，習其俯仰詘伸，容貌得莊焉。行其綴兆，要其節奏，行列得正焉，進退得齊焉。故樂者，天地之命，中和之紀，人情之所不能免也。

So when music is in the ancestral temple and ruler, minister, high and low listen together, none fail to be harmonious and reverent. When it is among the clan elders and the village, and old and young listen together, none fail to be harmonious and compliant. When it is within the inner door, and father, son and brothers listen together, none fail to be harmonious and affectionate. So music examines a single tone to fix the harmony, arranges instruments to adorn the rhythm, and brings the beats together to complete the pattern. It is used to bring together and harmonize father and son, ruler and minister, and to bind the myriad people in affection. This is the direction in which the former kings established music. So when one hears the sounds of the Ya and Song odes, the will is broadened. When one takes up shield and axe and practices bending and stretching, the bearing becomes grave. When one walks the rows and positions and matches the rhythm, the rows become straight and the advance and retreat orderly. So music is the command of Heaven and Earth, the guiding thread of central harmony, which human feeling cannot do without.

夫樂者．先王之所以飾喜也。軍旅鈇鉞者，先王之所以飾怒也。故先王之喜怒皆得其儕焉。喜則天下和之，怒則暴亂者畏之，先王之道，禮樂可謂盛矣！

Music is what the former kings used to adorn joy. Armies and axes are what the former kings used to adorn anger. So the former kings' joy and anger each had their proper kind. When they were glad, the world answered in harmony; when they were angry, the violent and disorderly feared them. The way of the former kings, in ritual and music, may be called grand!

子贛見師乙而問焉，曰：“賜聞聲歌各有宜也，如賜者宜何歌也？”師乙曰：“乙賤工也，何足以問所宜？請誦其所聞而吾子自執焉。愛者，宜歌商。溫良而能斷者，宜歌齊。夫歌者，直己而陳德也，動己而天地應焉，四時和焉，星辰理焉，萬物育焉。故商者，五帝之遺聲也。寬而靜，柔而正者，宜歌頌。廣大而靜，疏達而信者，宜歌大雅。恭儉而好禮者，宜歌小雅。正直而靜，廉而謙者，宜歌風。肆直而慈愛，商之遺聲也，商人識之，故謂之商。齊者，三代之遺聲也，齊人識之，故謂之齊。明乎商之音者，臨事而屢斷。明乎齊之音者，見利而讓。臨事而屢斷，勇也；見利而讓，義也。有勇有義，非歌孰能保此？故歌者上如抗，下如隊，曲如折，止如槁木，倨中矩，句中鉤，累累乎端如貫珠。故歌之為言也，長言之也。說之故言之，言之不足，故長言之。長言之不足，故嗟嘆之，嗟嘆之不足，故不知手之舞之、足之蹈之也。”子貢問樂。

Zigong went to see Music Master Yi and asked: "I, Ci, have heard that voices and songs each have what suits them; what song suits someone like me?" Master Yi said: "I am a lowly musician; how am I fit to be asked what suits you? Allow me to recite what I have heard, and you can judge for yourself. One who is kind and loving suits the Shang. One who is gentle and good and able to decide suits the Qi. Song makes oneself upright and sets forth virtue; stirring oneself, Heaven and Earth respond, the four seasons are in harmony, the stars and planets have order, and the myriad things are transformed and nurtured. Therefore the Shang is the surviving sound of the Five Emperors. One who is broad and still, gentle and correct, suits the Song hymns. One who is vast and still, open and trustworthy, suits the Da Ya. One who is respectful, frugal, and fond of ritual suits the Xiao Ya. One who is upright and still, pure and modest, suits the Feng. One who is frank and kind: this is the surviving sound of the Shang, and the people of Shang recognized it, so it is called Shang. The Qi is the surviving sound of the Three Dynasties, and the people of Qi recognized it, so it is called Qi. One who understands the Shang tone will decide repeatedly when facing affairs. One who understands the Qi tone will yield when he sees profit. To decide repeatedly when facing affairs is courage; to yield when seeing profit is righteousness. To have both courage and righteousness, who could preserve these without song? Therefore in singing, the rising seems lifted up, the falling seems dropping down, the bending seems breaking, the stopping seems dry wood, the straight fits the carpenter's square, the curved fits the hook, and the continuous string is as regular as threaded pearls. Therefore song as speech is speaking drawn out. One is glad, so one speaks; speaking is not enough, so one draws it out. Drawing out is not enough, so one sighs. Sighing is not enough, so without knowing it the hands dance and the feet stamp." Zigong asked about music.

諸侯行而死於館，則其復如於其國。如於道，則升其乘車之左轂，以其綏復，其輤有裧，緇布裳帷，素錦以為屋而行。至於廟門，不毀牆遂入，適所殯，唯輤為說，於廟門外。

When a feudal lord dies while traveling at a lodging, the calling back of his soul is done as in his own state. If he dies on the road, one climbs onto the left hub of his carriage and calls back his soul with the carriage's pulling rope. The carriage carrying the coffin has a canopy, with lower curtains of black cloth, and plain brocade serving as the roof, and proceeds. On reaching the temple gate, the wall is not breached in order to enter, and it goes to the place of lying in the coffin. Only the coffin carriage is unyoked outside the temple gate.

大夫士死於道，則升其乘車之左轂，以其綏復。如於館死，則其復如於家。大夫以布為輤而行，至於家而說輤，載以輲車，入自門，至於阼階下而說車，舉自阼階，升適所殯。士輤，葦蓆以為屋，蒲席以為裳帷。

When a grandee or officer dies on the road, one climbs onto the left hub of his carriage and calls back his soul with the carriage's pulling rope. If he dies at a lodging, the calling back is done as at home. For a grandee, a coffin carriage covered with cloth is used to proceed, and on arriving home it is removed; it is carried on a spokeless cart, enters by the gate, is unloaded at the foot of the eastern steps, lifted from the eastern steps, and ascends to the place of lying in the coffin. For an officer's coffin carriage, reed mats serve as the roof and rush mats as the curtains.

凡訃於其君，曰：“君之臣某死。”父母妻長子，曰：“君之臣某之某死。”君訃於他國之君，曰：“寡君不祿，敢告於執事。”夫人，曰：“寡小君不祿。”大子之喪，曰：“寡君之適子某死。”大夫訃於同國，適者曰：“某不祿。”訃於士，亦曰：“某不祿。”訃於他國之君，曰：“君之外臣寡大夫某死。”訃於適者，曰：“吾子之外私寡大夫某不祿，使某實。”訃於士，亦曰：“吾子之外私寡大夫某不祿，使某實。”士訃於同國大夫，曰：“某死。”訃於士，亦曰：“某死。”訃於他國之君，曰：“君之外臣某死。”訃於大夫，曰：“吾子之外私某死。”訃於士，亦曰：“吾子之外私某死。”

In every case when giving notice of a death to one's own ruler, say: "Your subject so-and-so has died." For parents, wife, or eldest son, say: "So-and-so, of your subject so-and-so, has died." When a ruler gives notice to the ruler of another state, he says: "My ruler is no longer among the living, and I venture to report to your attendants." For his consort, he says: "My lesser lady is no longer among the living." For the crown prince's mourning, he says: "My ruler's legitimate son so-and-so has died." When a grandee gives notice to an equal of the same state, he says: "So-and-so is no longer among the living." To an officer he also says: "So-and-so is no longer among the living." To the ruler of another state he says: "Your outer subject, this humble grandee so-and-so, has died." To an equal he says: "Your outer private friend, this humble grandee so-and-so, is no longer among the living; I have been sent, so-and-so, to confirm it." To an officer he also says: "Your outer private friend, this humble grandee so-and-so, is no longer among the living; I have been sent, so-and-so, to confirm it." When an officer gives notice to a grandee of the same state, he says: "So-and-so has died." To an officer he also says: "So-and-so has died." To the ruler of another state he says: "Your outer subject so-and-so has died." To a grandee he says: "Your outer private friend so-and-so has died." To an officer he also says: "Your outer private friend so-and-so has died."

大夫次於公館以終喪。士練而歸，士次於公館。大夫居廬，士居堊室。

A grandee sets up his mourning quarters in the public lodging until the end of mourning. An officer returns after the one-year sacrifice, and an officer sets up his mourning quarters in the public lodging. A grandee lives in the mourning hut, and an officer lives in the plastered room.

大夫為其父母兄弟之未為大夫者之喪，服如士服。士為其父母兄弟之為大夫者之喪，服如士服。

When a grandee mourns his parents or brothers who had not yet become grandees, his mourning dress is the same as an officer's. When an officer mourns his parents or brothers who were grandees, his mourning dress is the same as an officer's.

大夫之適子，服大夫之服。

The legitimate son of a grandee wears a grandee's mourning dress.

大夫之庶子為大夫，則為其父母服大夫服，其位與未為大夫者齒。

When a grandee's son by a concubine becomes a grandee, he wears a grandee's mourning dress for his parents, and his position is ranked by age among those who have not become grandees.

士之子為大夫，則其父母弗能主也，使其子主之。無子則為之置後。

When an officer's son becomes a grandee, his parents cannot act as chief mourners; his son acts as chief mourner. If he has no son, a successor is established for him.

大夫卜宅與葬日，有司麻衣，布衰，布帶，因喪屨，緇布冠不蕤，占者皮弁。如筮，則史練冠長衣以筮。占者朝服。

When a grandee consults the tortoise shell about the burial site and the burial day, the officials wear hemp clothing, cloth mourning clothes, and cloth belts, continue using mourning shoes, and wear black cloth caps without tassels. The one who examines the cracks wears a skin cap. If milfoil stalks are used, the scribe wears a silk cap and a long robe to divine. The one who examines the cracks wears court dress.

大夫之喪，既薦馬，薦馬者哭踴，出乃包奠，而讀書。

At a grandee's funeral, after the horses have been presented, the one who presents the horses weeps and stamps his feet; when he goes out, the sacrificial meat is wrapped, and the list of funerary gifts is read.

大夫之喪，大宗人相，小宗人命龜，卜人作龜。

At a grandee's funeral, the senior clan officer assists, the junior clan officer commands the tortoise, and the diviner burns the shell.

內子以鞠衣，褒衣，素沙，下大夫以襢衣，其餘如士。復，諸侯以褒衣，冕服，爵弁服。夫人稅衣揄狄，狄稅素沙，復西上。

For the chief wife, use the garments of juyi, baoyi, and plain gauze. For a lower grandee's wife, use the zhanyi, and the rest are as for an officer. For calling back the soul: a feudal lord uses the baoyi, the ceremonial robe with cap, and the jue cap robe. The consort uses the shuiyi, yuedi, the diyi, and the shuiyi in plain gauze. In calling back the soul, west is the senior side.

大夫不揄絞，屬於池下。

A grandee does not use the yaojiao; it is joined and hung below the chi.

大夫附於士，士不附於大夫，附於大夫之昆弟。無昆弟則從其昭穆，雖王父母在亦然。婦附於其夫之所附之妃，無妃則亦從其昭穆之妃。妾附於妾祖姑，無妾祖姑則亦從其昭穆之妾。男子附於王父則配，女子附於王母則不配。公子附於公子。

A grandee is joined in sacrifice to an officer, but an officer is not joined to a grandee; he is joined to the grandee's brother. If there is no brother, follow the zhao-mu order. This is so even if the grandparents are alive. A wife is joined to the consort to whom her husband was joined; if there is no consort, she also follows the zhao-mu consort. A concubine is joined to her grandfather's concubine; if there is no such grandmother concubine, she also follows the zhao-mu concubine. A man joined to his grandfather shares the offerings; a woman joined to her grandmother does not share the offerings. A duke's son is joined to a duke's son.

君薨，大子號稱子，待猶君也。

When the ruler dies, the crown prince is styled 'son' and is still treated as the ruler.

有三年之練冠，則以大功之麻易之。唯杖屨不易。

If there is a three-year mourning cap of silk, change it with the hemp of the great mourning. Only the staff and shoes are not changed.

有父母之喪，尚功衰，而附兄弟之殤，則練冠附於殤，稱陽童某甫，不名神也。

If there is mourning for parents and one is still wearing the great mourning dress, and one joins the sacrifice for a brother who died young, one wears the silk cap and joins the young one, calling him 'Boy so-and-so, courtesy name Fu'; one does not use his name, because he is a spirit.

凡異居，始聞兄弟之喪，唯以哭對可也。其始麻，散帶絰，未服麻而奔喪，及主人之未成絰也，疏者與主人皆成之，親者終其麻帶絰之日數。

In all cases where people do not live together, on first hearing of a brother's death, it is acceptable merely to respond with weeping. When he begins to use hemp, he unfastens the belt and sash. If one rushes to the mourning before putting on hemp, and arrives when the chief mourner has not yet put on the sash, then the distant relatives complete it together with the chief mourner, while the close relatives finish the number of days for the hemp belt and sash.

主妾之喪，則自祔。至於練祥，皆使其子主之。其殯，祭，不於正室。

In acting as chief mourner for a concubine, begin from the joining sacrifice. Until the one-year and two-year sacrifices, have her son act as chief mourner. The coffin and sacrifices are not placed in the main room.

君不撫僕妾。

The ruler does not comfort or lay hands on servants and concubines.

女君死，則妾為女君之黨服。攝女君，則不為先女君之黨服。

When the lady of the house dies, the concubines wear mourning for the lady's relatives. If one acts in place of the lady, she does not wear mourning for the previous lady's relatives.

聞兄弟之喪，大功以上，見喪者之鄉而哭。

On hearing of a brother's death, if it is a great mourning or higher, one sees the village of the deceased and weeps.

適兄弟之送喪者弗及，遇主人於道，則遂之於墓。

If one goes to see off a brother's funeral and does not arrive in time, and meets the chief mourner on the road, one follows him to the grave.

凡主兄弟之喪，雖疏亦虞之。

In all cases when acting as chief mourner for a brother, even if distantly related, one performs the ceasing-of-weeping sacrifice for him.

凡哭服未畢，有吊者則為位而哭，拜，踴。

In all cases where weeping and mourning dress are not yet finished, if someone comes to offer condolences, one sets up a place, weeps, bows, and stamps the feet.

大夫之哭大夫弁絰，大夫與殯亦弁絰。

When a grandee weeps for a grandee, he wears the bian cap with the sash; when a grandee takes part in the lying-in-coffin, he also wears the bian cap with the sash.