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

Section 7: Why Refute Mozi’s "Against Music" ($\text{fēi yuè}$)$28

Seventh Question: Why did Xunzi specifically refute Mozi’s doctrine of "Against Music" in On Music$29 What exactly was wrong with Mozi’s argument$30

Mozi’s argument against music is found in Mozi: Against Music, Part One:

"Furthermore, when a benevolent man ($\text{rén zhě}$) calculates for the world, he does not calculate based on what pleases the eyes, what pleases the ears, what pleases the mouth, or what pleases the body for comfort; he does not use resources gained by plundering the people’s clothing and food to achieve these ends. A benevolent man does not do this."

Mozi’s fundamental argument is: Music consumes vast human and material resources ($\text{yī lì wù}$), yet it does not increase material wealth; instead, it "plunders the people’s clothing and food resources" ($\text{kuī duó mín yī shí zhī cái}$), so the benevolent man should not engage in it.

Xunzi refutes this 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 music ($\text{rén bù néng wú yuè}$)."

The core of the refutation is: Man must have music; if music is forcibly abolished, human emotions will find harmful outlets instead.

From the perspective of the "Imagery of Sound and Music," the fundamental error in Mozi’s argument is that Mozi only saw the "material cost" of music but failed to see its "spiritual benefit" (cultivating the heart, coordinating society, communicating with Heaven and Man). The "imagery" of sound and music—grand beauty, substantiality, regulation, harmony, fierceness, ampleness, goodness, femininity, purity, and encompassing the Dao—each quality is necessary for social harmony. Without the drum’s "grand beauty," society lacks sublime aspiration; without the bell’s "substantiality," society lacks a solid foundation; without the chime stone’s "regulation," society lacks measured restraint. The social function of music far outweighs its material cost.

Xunzi further states:

"Therefore, music is the means by which the Dao is expressed. Metal, stone, silk, and bamboo are the means by which morality is realized. When music is practiced, the people turn toward the right path. Therefore, music is the greatest means of governing the people."

"Metal, stone, silk, and bamboo are the means by which morality is realized" ($\text{jīn shí sī zhú, suǒ yǐ dào dé yě}$). "When music is practiced, the people turn toward the right path" ($\text{yuè xíng ér mín xiāng fāng yǐ}$). "Music is the greatest means of governing the people" ($\text{yuè zhě, zhì rén zhī shèng zhě yě}$).

This judgment elevates music from mere entertainment to the highest political tool. Mozi viewed music as useless consumption; Xunzi viewed it as an essential instrument of governance—the difference lies in their understanding of the "Imagery of Sound and Music"—the qualities and functions of music.