The Image of Music and Sound in Xunzi's 'On Music': A Study of Character, Cosmos, and the Cultivation of Rites and Music

Section 3: The Position of On Music within Master Xunzi's Philosophical System

Master Xunzi's philosophy is centered on "Ritual" ($\text{Lǐ}$), based on "Group" ($\text{Qún}$), and utilizes "Transforming Nature and Cultivating Artifice" ($\text{huà xìng qǐ wěi}$) as its method. To grasp the deeper meaning of the "Imagery of Sound and Music" passage, one must first clarify the position of On Music within Xunzi’s overall thought.

Master Xunzi argues for the theory that "Human Nature is Evil" ($\text{xìng è}$). The chapter On Human Nature states:

"The nature of man is evil; his goodness is the result of artificial effort ($\text{wěi}$). Of man’s nature, that which is good is acquired effort. Now, man’s nature being what it is, if he follows his nature and indulges his disposition, contention and strife will arise, and faithfulness and sincerity will disappear. If he follows his nature and indulges his disposition, they will arise, and propriety and righteousness ($\text{lǐ yì}$) will vanish. If he follows his nature and indulges his disposition, they will arise, and licentious disorder ($\text{yín luàn}$) will emerge, and the patterned distinctions of propriety and righteousness will be lost." (Xunzi, Xing E)

Among human natures, there is "a fondness for fine sound and color" ($\text{hǎo shēng sè}$). If one follows this desire unchecked, "licentious disorder will emerge, and the patterned distinctions of propriety and righteousness will vanish." Does this mean that sound and music—activities that directly satisfy the desires of the ears and eyes—should be rejected in Xunzi’s thought$9

The answer is no. Master Xunzi does not negate sound and music; rather, he insists that they must be guided and restrained by $\text{Lǐ yì}$ ($\text{propriety and righteousness}$), transforming them from means of indulgence into tools for moral cultivation. Xunzi: On Music begins by stating:

"Now, music ($\text{yuè}$) is enjoyment ($\text{lè}$), an essential aspect of human feeling that cannot be avoided. Therefore, man cannot be without enjoyment. If one enjoys, it must manifest in sound and movement, taking form in action and stillness. In man’s way, sound, movement, action, and stillness encompass all transformation of nature and method. Therefore, man cannot be without enjoyment; if one enjoys, it cannot be without form. If form is not guided by the Dao, disorder will surely ensue. The former kings hated disorder, and thus they established the sounds of the Ya and Song ($\text{yǎ sòng}$), employing them to guide the Dao." (Xunzi, Yue Lun)

This passage has several important implications:

First, "Music is enjoyment" ($\text{yuè zhě, lè yě}$)—Music is pleasure, an inevitability of human nature, and cannot be eliminated. This stands in direct opposition to Mozi’s doctrine of "Against Music" ($\text{fēi yuè}$).

Second, "Therefore, man cannot be without enjoyment" ($\text{gù rén bù néng wú yuè}$)—Man must have pleasure, and pleasure must be manifested. This acknowledges the natural demands of human nature.

Third, "If form is not guided by the Dao, disorder will surely ensue" ($\text{xíng ér bù wéi dào, zé bù néng wú luàn}$)—If the manifestation of enjoyment is not guided by the Dao, chaos will inevitably follow. This critiques pure indulgence.

Fourth, "The former kings hated disorder, and thus they established the sounds of the Ya and Song, employing them to guide the Dao" ($\text{xiān wáng èr qí luàn yě, gù zhì yǎ sòng zhī shēng yǐ dào zhī}$)—The former kings created the music of Ya and Song to guide human enjoyment and bring it into accordance with the Dao. This is the civilizing function of sound and music.

Therefore, in Master Xunzi’s thought, sound and music have a dual nature: they are both the satisfaction of natural human desire and a tool for cultivating the human heart. The key lies in using $\text{Lǐ}$ ($\text{Ritual}$) to restrain and guide them. The chapters On Music and On Rites are corresponding sister chapters in Xunzi’s work, together forming his complete theory of "transforming nature by means of rites and music ($\text{yǐ lǐ yuè huà xìng qǐ wěi}$)."

Xunzi: On Music further states:

"Music is that which the Sages delight in, and it can improve the hearts of the people. Its influence on men is deep; it can transform customs and change behavior. Therefore, the former kings guided men with rites and music, and the people achieved harmony and concord." (Xunzi, Yue Lun)

"Its influence on men is deep," and "it can transform customs and change behavior"—the power of sound and music lies in its direct impact on human emotion, subtly transforming human disposition. This is far more profound than mere legal prohibition. Rites regulate human behavior externally; music influences the human heart internally. The two complement each other.

What is the position of the "Imagery of Sound and Music" passage within the entire On Music chapter$10 This passage appears in the latter half of the chapter, coming after Xunzi has discussed the social functions of music and refuted Mozi’s "Against Music" doctrine. He then turns to describing the qualities and cosmological interpretation of the specific content of sound and music—various instruments, song, and dance. This is the crucial juncture where the discussion shifts from the "Use of Music" ($\text{yuè zhī yòng}$) to the "Substance of Music" ($\text{yuè zhī tǐ}$), and it is the most poetic and philosophically profound section of the entire chapter.