In antiquity the Son of Heaven had five gongs on his left [and
right][2]
sides. When he was about to go out, the huang-chung[3]
was struck, and the five gongs on the right echoed to it. The
horses' neigh fit the pitch [of the huang chung]. The chariots were
in the pattern [of the music]; the drivers were in the number [of
the music]. [The officials] stood up and then bowed respectfully.[4]
They folded their hands and then [held their arms as though]
grasping drums. When they walked, they went exactly; when
they turned back, they went correctly.[5]
After that the Grand
Music Master[6]
offered up the music of mounting the chariot,
thereby announcing that [the Son of Heaven] was going out.
When he [was about to] re-enter the palace, the jui pin was
struck[7]
to [let him] prepare his bearing. When he had achieved
[the proper] bearing, his countenance was in harmony. When his
countenance was in harmony, his features
[8]
were in repose. When
the
jui pin sounded, herons flapped their wings, horses neighed,
and even of creatures of the lower order none but stretched out
their necks to listen. All the inmates of the palace had the color
of jade;
[9]
outside all had voices of metal. After that the Inferior
Music Master
[10]
offered up the music of ascending the hall and
went to his seat, thereby announcing that [the Son of Heaven]
was returning. This expresses the idea of music being harmonious,
of things being moved, and of [objects with] similar tones responding.
[11]
The Ode says,
[12]
With bells and drums[13]
we show our delight in him.
This is illustrated in the above.