An Inquiry into the Core of Xunzi's 'On Rites': The Origin of Rites, Textual-Structural Logic, and the Way of Elevation and Reduction

Section 7 The Relationship between Three Tiers and the Life Cycle of Rites

If we connect "begins with simplicity (zhuo), is completed in culture (wen), and ends in joyful calibration (yue jiao)" with the three ranks of "utmost perfection (zhi bei)," "next degree (qi ci)," and "lowest degree (qi xia)," we can see an interesting structural relationship:

"Begins with simplicity" (shi hu zhuo) corresponds to the primordial form of Rites—simple emotional expression—which bears some correspondence to "the lowest degree reverts to emotion to return to the Great Unity" (qi xia fu qing yi gui Da Yi ye). Both point toward the simplicity and authenticity of emotion.

"Completed in culture" (cheng hu wen) corresponds to the perfected form of Rites—elaborate rituals and norms—which has some correspondence with "utmost perfection, both emotion and culture are fully realized" (zhi bei, qing wen ju jin).

"Ends in joyful calibration" (zhong hu yue jiao) corresponds to the harmonious state of Rites—the perfect unification of freedom and order—which is a higher state transcending the distinction between qing and wen.

However, this correspondence is not mechanical. "Begins with simplicity" is the temporal starting point, while "the lowest degree reverts to emotion" is the lowest rank; their similarity lies in "simplicity," but the simplicity of "begins with simplicity" is natural and undeveloped, whereas the simplicity of "reverting to emotion" is a return achieved after development—these two simplicities, though superficially similar, have different connotations.

This leads us to recall Zhuangzi’s parable of "Chaos" (Hun Dun):

"The Emperor of the South Sea was named Shu (Haste); the Emperor of the North Sea was named Hu (Suddenness); the Emperor of the Center was named Hun Dun (Chaos). Shu and Hu often met in the dwelling place of Hun Dun, who treated them very well. Shu and Hu conspired to repay Hun Dun’s kindness, saying, 'Every man has seven openings for seeing, hearing, eating, and breathing; this one alone has none—let us try to chisel them open for him.' They chiseled one opening a day; after seven days, Hun Dun died."

"Chaos" (Hun Dun)—the undifferentiated state of primordial unity—is the original unity. When artificial "chiseling" (differentiation, embellishment) is imposed upon it, Chaos dies. This parable can be seen as a critical reflection on the developmental process from "simplicity" (zhuo) to "culture" (wen): The original simplicity (zhuo) possesses its own rustic beauty, but artificial embellishment (wen) might actually destroy this perfection.

But Master Xunzi would disagree with Zhuangzi’s view. In Xunzi’s view, although "simplicity" (zhuo) possesses rustic beauty, it is insufficient—society requires "culture" (wen) to establish order and ensure function. "Reverting to emotion to return to the Great Unity" is merely a fallback position when attainment is impossible, not the ideal to pursue. The ideal remains "emotion and culture fully realized" (qing wen ju jin)—the perfect unification of emotion and form.

This divergence points again to the fundamental difference between Confucianism and Daoism: their differing evaluations of the value of "culture" (wen). Confucianism affirms the value of civilization, believing the development from primitive to civilized society is progress; Daoism is skeptical of civilization, believing the process of civilization is also a process of alienation—man moves further away from Nature and further away from the Dao.

But in any case, the fact that Master Xunzi ranks "reverting to emotion to return to the Great Unity" as one of the tiers of Rites (albeit the lowest) demonstrates his full recognition of the value of "emotion" (qing). In his system, "emotion" is the foundation of Rites—without genuine emotion, even the most exquisite form is worthless.