Han shih wai chuan Han Ying's Illustrations of the didactic application of the Classic of songs |
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CHAPTER V Han shih wai chuan | ||
7[1]
Confucius was studying the lute under the music master Hsiang-tzŭ,[2]
but made no progress. Master Hsiang-tzŭ said, "It is within
your power, sir, to make progress."
Confucius said, "I have already grasped the melody, but as
yet I have not got the structure [of this music]."
After a while [Hsiang-tzŭ] said, "It is within your power, sir,
to make [more] progress."
[Confucius] said, "I have already grasped the structure, but
as yet I do not have its meaning."
After a while [Hsiang-tzŭ] again said, "It is within your power,
sir, to make [more] progress," and [Confucius] said, ["I have
already got its meaning, but I have not yet got the man."
After a while (Hsiang-tzŭ) again said, "It is within your
power, sir, to make (more) progress," and (Confucius) said,][3]
"I have already got the man [who composed the piece], but
I still have not managed to place him." For a while he gazed
off into the distance, lost in deep thought. Then he said,[4]
"Pensive
and majestic is he who must have composed this music. Darkly
black,[5]
and grandly tall[6]
he rules the empire and attracts to his
court the feudal lords: it can be no other than King Wên."
Master Hsiang-tzŭ withdrew from the mat, bowed twice, and
said, "Good. Music masters attribute this song to King Wên."
So it was that Confucius, in apprehending the sounds [composed
by] King Wên knew what he must be like as a man.
Master Hsiang-tzŭ said, "I venture to ask how you knew the
song was by King Wên?"
Confucius said, "A man characterized by jên values repression;[7]
(?) a harmonious man values decoration; a wise man values simplicity,[8]
(?) and a man with the intention of being sincere values
beauty. (??) This is how I knew it was song by King Wên."[9]
Traditionally,[10]
that man is a saint who penetrates to the true
nature of a thing from having experienced [only] its external
manifestations.
This occurs in Shih chi 47.15b-16a (Mém. hist. 5.349-51) in a slightly modified form.
Chia-yü 8.6a-b is closer to Shih-chi, but with some phrases in common with HSWC.
[OMITTED]. Ch`u-hsüeh chi 16.3b has [OMITTED] (CHy), and Li Shan's com. on
Wên hsüan 34.5a has [OMITTED]. (Chao 127.) Analects 338 (18/9.5) mentions a
Hsiang who was "master of the musical stone" [OMITTED] (Chou), but Liang Yü-shêng
[OMITTED] (quoted by Ch`ên Ch`iao-ts`ung, I-shuo k`ao 11.7b) denies that they
are the same person. However Chia-yü says [OMITTED].
[OMITTED] ○ [OMITTED]. CHy adds
this from Ch`u-hsüeh chi; Po-t`ieh 18.96a has [OMITTED]. (Chao 128.)
[OMITTED]. Ch`u-hsüeh chi has [OMITTED] after [OMITTED]. (CHy.) Neither Chia-yü
nor Shih chi make this part of Confucius' speech, and I suspect that [OMITTED] has been
displaced by attraction of the phrase [OMITTED] which occurs repeatedly above.
[OMITTED]. D has [OMITTED]. B, C have [OMITTED] "in silent thought." Chao thinks
this is an arbitrary emendation of [OMITTED]. Cf. Chavannes' note 2, p. 350.
[OMITTED]. B, C have [OMITTED] "in sorrowful dejection." Chia-yü has [OMITTED]
for [OMITTED], and Chou says they are equivalent. Cf. Shih 161 No. 106: [OMITTED].
As Sun I-jang (Cha-i 2.1a) points out. [OMITTED] makes no sense here. He proposes [OMITTED],
alluding to HFT 8.6a: [OMITTED] "Hsi-mên Pao was of a
hasty disposition and so wore a leather thong at his belt to slow himself down." Chao
approves this emendation.
CHAPTER V Han shih wai chuan | ||