Thien Yün, or 'The Revolution of Heaven.'
1. How (ceaselessly) heaven revolves! How (constantly) earth abides at rest! And do the sun and moon contend about their (respective) places? Who presides over and directs these (things)? Who binds and connects them together? Who is it that, without trouble or exertion on his part, causes and maintains them? Is it, perhaps, that there is some secret spring, in consequence of which they cannot be but as they are? Or is it, perhaps, that they move and turn as they do, and cannot stop of themselves?
(Then) how the clouds become rain! And how the rain again forms the clouds! Who diffuses them so abundantly? Who is it that, without trouble or exertion on his part, produces this elemental enjoyment, and seems to stimulate it?
The winds rise in the north; one blows to the west, and another to the east; while some rise upwards, uncertain in their direction. By whose breathing are they produced? Who is it that, without any trouble and exertion of his own, effects all their undulations? I venture to ask their cause.
Wû-hsien Thiâo said, 'Come, and I will tell you. To heaven there belong the six Extreme Points, and the five Elements. When the Tîs and Kings acted in accordance with them, there was good government; when they acted contrary to them, there was evil. Observing the things (described) in the nine divisions (of the writing) of Lo, their government was perfected and their virtue was complete. They inspected and enlightened the kingdom beneath them, and all under the sky acknowledged and sustained them. Such was the condition under the august (sovereigns) and those before them.'
2. Tang, the chief administrator of Shang, asked Kwang-tsze about Benevolence, and the answer was, 'Wolves and tigers are benevolent.' 'What do you mean?' said Tang. Kwang-tsze replied, 'Father and son (among them) are affectionate to one another. Why should they be considered as not benevolent?' 'Allow me to ask about perfect benevolence,' pursued the other. Kwang-tsze said, 'Perfect benevolence does not admit (the feeling) of affection.' The minister said, 'I have heard that, without (the feeling of) affection there is no love, and without love there is not filial duty;-- is it permissible to say that the perfectly benevolent are not filial?' Kwang-tsze rejoined, 'That is not the way to put the case. Perfect Benevolence is the very highest thing;-- filial duty is by no means sufficient to describe it. The saying which you quote is not to the effect that (such benevolence) transcends filial duty;-- it does not refer to such duty at all. One, travelling to the south, comes (at last) to Ying, and there, standing with his face to the north, he does not see mount Ming. Why does he not see it? Because he is so far from it. Hence it is said, "Filial duty as a part of reverence is easy, but filial duty as a part of love is difficult. If it be easy as a part of love, yet it is difficult to forget one's parents. It may be easy for me to forget my parents, but it is difficult to make my parents forget me. If it were easy to make my parents forget me, it is difficult for me to forget all men in the world. If it were easy to forget all men in the world, it is difficult to make them all forget me."
'This virtue might make one think light of Yâo and Shun, and not wish to be they. The profit and beneficial influences of it extend to a myriad ages, and no one in the world knows whence they come. How can you simply heave a great sigh, and speak (as you do) of benevolence and filial duty? Filial duty, fraternal respect, benevolence, righteousness, loyalty, sincerity, firmness, and purity;-- all these may be pressed into the service of this virtue, but they are far from sufficient to come up to it. Therefore it is said, "To him who has what is most noble, all the dignities of a state are as nothing; to him who has what is the greatest riches, all the wealth of a state is as nothing; to him who has all that he could wish, fame and praise are as nothing." It is thus that the Tâo admits of no substitute.'
3. Pei-min Khang asked Hwang-Tî, saying, 'You were celebrating, O Tî, a performance of the music of the Hsien-khih, in the open country near the Thung-thing lake. When I heard the first part of it, I was afraid; the next made me weary; and the last perplexed me. I became agitated and unable to speak, and lost my self-possession.' The Tî said, 'It was likely that it should so affect you! It was performed with (the instruments of) men, and all attuned according to (the influences of) Heaven. It proceeded according to (the principles of) propriety and righteousness, and was pervaded by (the idea of) the Grand Purity.
'The Perfect Music first had its response in the affairs of men, and was conformed to the principles of Heaven; it indicated the action of the five virtues, and corresponded to the spontaneity (apparent in nature). After this it showed the blended distinctions of the four seasons, and the grand harmony of all things;-- the succession of those seasons one after another, and the production of things in their proper order. Now it swelled, and now it died away, its peaceful and military strains clearly distinguished and given forth. Now it was clear, and now rough, as if the contracting and expanding of the elemental processes blended harmoniously (in its notes). Those notes then flowed away in waves of light, till, as when the hibernating insects first begin to move, I commanded the terrifying crash of thunder. Its end was marked by no formal conclusion, and it began again without any prelude. It seemed to die away, and then it burst into life; it came to a close, and then it rose again. So it went on regularly and inexhaustibly, and without the intervention of any pause:-- it was this which made you afraid.
'In the second part (of the performance), I made it describe the harmony of the Yin and Yang, and threw round it the brilliance of the sun and moon. Its notes were now short and now long, now soft and now hard. Their changes, however, were marked by an unbroken unity, though not dominated by a fixed regularity. They filled every valley and ravine; you might shut up every crevice, and guard your spirit (against their entrance), yet there was nothing but gave admission to them. Yea, those notes resounded slowly, and might have been pronounced high and clear. Hence the shades of the dead kept in their obscurity; the sun and moon, and all the stars of the zodiac, pursued their several courses. I made (my instruments) leave off, when (the performance) came to an end, and their (echoes) flowed on without stopping. You thought anxiously about it, and were not able to understand it; you looked for it, and were not able to see it; you pursued it, and were not able to reach it. All-amazed, you stood in the way all open around you, and then you leant against an old rotten dryandra-tree and hummed. The power of your eyes was exhausted by what you wished to see; your strength failed in your desire to pursue it, while I myself could not reach it. Your body was but so much empty vacancy while you endeavoured to retain your self-possession:-- it was that endeavour which made you weary.
'In the last part (of the performance), I employed notes which did not have that wearying effect. I blended them together as at the command of spontaneity. Hence they came as if following one another in confusion, like a clump of plants springing from one root, or like the music of a forest produced by no visible form. They spread themselves all around without leaving a trace (of their cause); and seemed to issue from deep obscurity where there was no sound. Their movements came from nowhere; their home was in the deep darkness;-- conditions which some would call death, and some life; some, the fruit, and some, (merely) the flower. Those notes, moving and flowing on, separating and shifting, and not following any regular sounds, the world might well have doubts about them, and refer them to the judgment of a sage, for the sages understand the nature of this music, and judge in accordance with the prescribed (spontaneity). While the spring of that spontaneity has not been touched, and yet the regulators of the five notes are all prepared;-- this is what is called the music of Heaven, delighting the mind without the use of words. Hence it is said in the eulogy of the Lord of Piâo, "You listen for it, and do not hear its sound; you look for it, and do not perceive its form; it fills heaven and earth; it envelopes all within the universe." You wished to hear it, but could not take it in; and therefore you were perplexed.
'I performed first the music calculated to awe; and you were frightened as if by a ghostly visitation. I followed it with that calculated to weary; and in your weariness you would have withdrawn. I concluded with that calculated to perplex; and in your perplexity you felt your stupidity. But that stupidity is akin to the Tâo; you may with it convey the Tâo in your person, and have it (ever) with you.'
4. When Confucius was travelling in the west in Wei, Yen Yüan asked the music-master Kin, saying, 'How is it, do you think, with the course of the Master?' The music-master replied, 'Alas! it is all over with your Master!' 'How so?' asked Yen Yüan; and the other said, 'Before the grass-dogs are set forth (at the sacrifice), they are deposited in a box or basket, and wrapt up with elegantly embroidered cloths, while the representative of the dead and the officer of prayer prepare themselves by fasting to present them. After they have been set forth, however, passers-by trample on their heads and backs, and the grass-cutters take and burn them in cooking. That is all they are good for. If one should again take them, replace them in the box or basket, wrap them up with embroidered cloths, and then in rambling, or abiding at the spot, should go to sleep under them, if he do not get (evil) dreams, he is sure to be often troubled with the nightmare. Now here is your Master in the same way taking the grass-dogs, presented by the ancient kings, and leading his disciples to wander or abide and sleep under them. Owing to this, the tree (beneath which they were practising ceremonies) in Sung was cut down; he was obliged to leave Wei; he was reduced to extremities in Shang and Kâu:-- were not those experiences like having (evil) dreams? He was kept in a state of siege between Khan and Tshâi, so that for seven days he had no cooked food to eat, and was in a situation between life and death:-- were not those experiences like the nightmare ?
'If you are travelling by water, your best plan is to use a boat; if by land, a carriage. Take a boat, which will go (easily) along on the water, and try to push it along on the land, and all your lifetime it will not go so much as a fathom or two:-- are not ancient time and the present time like the water and the dry land? and are not Kâu and Lû like the boat and the carriage? To seek now to practise (the old ways of) Kâu in Lû is like pushing along a boat on the dry land. It is only a toilsome labour, and has no success; he who does so is sure to meet with calamity. He has not learned that in handing down the arts (of one time) he is sure to be reduced to extremity in endeavouring to adapt them to the conditions (of another).
'And have you not seen the working of a shadoof? When (the rope of) it is pulled, it bends down; and when it is let go, it rises up. It is pulled by a man, and does not pull the man; and so, whether it bends down or rises up, it commits no offence against the man. In the same way the rules of propriety, righteousness, laws, and measures of the three Hwangs and five Tîs derived their excellence, not from their being the same as those of the present day, but from their (aptitude for) government. We may compare them to haws, pears, oranges, and pummeloes, which are different in flavour, but all suitable to be eaten. Just so it is that the rules of propriety, righteousness, laws, and measures, change according to the time.
'If now you take a monkey, and dress it in the robes of the duke of Kâu, it will bite and tear them, and will not be satisfied till it has got rid of them altogether. And if you look at the difference between antiquity and the present time it is as great as that between the monkey and the duke of Kâu. In the same way, when Hsî Shih was troubled in mind, she would knit her brows and frown on all in her neighbourhood. An ugly woman of the neighbourhood, seeing and admiring her beauty, went home, and also laying her hands on her heart proceeded to stare and frown on all around her. When the rich people of the village saw her, they shut fast their doors and would not go out; when the poor people saw her, they took their wives and children and ran away from her. The woman knew how to admire the frowning beauty, but she did not know how it was that she, though frowning, was beautiful. Alas! it is indeed all over with your Master!'