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

Section 4: "Chime Stone is Pure and Regulated" ($\text{qìng lián zhì}$) — The Imagery of the Chime Stone

"The chime stone is pure and regulated" ($\text{qìng lián zhì}$)—This states the chime stone’s quality is both "pure/angular" ($\text{lián}$) and "regulated/controlled" ($\text{zhì}$).

The character "pure/angular" ($\text{lián}$) has multiple meanings in pre-Qin texts:

First, the meaning of "integrity" or "uprightness." Xunzi, On Self-Cultivation ($\text{Xiū Shēn}$) states: "Integrity ($\text{lián}$) without sharpness ($\text{guài}$)." Here, $\text{lián}$ means integrity.

Second, the meaning of "edge" or "distinctness." The original meaning of $\text{lián}$ relates to angularity; any part of an object with a clear edge can be called $\text{lián}$. Xunzi, Not Deviating ($\text{Bù Gǒu}$) states: "A gentleman is broad but not lax, $\text{lián}$ but not wounding ($\text{guài}$), dialectical but not contentious." Here, $\text{lián}$ is contrasted with $\text{guài}$ (wounding), meaning having clear edges without causing harm.

Third, the meaning of "crispness" or "clear resonance," derived from "distinct edges," describing a sound that is crisp and clean, without lingering ambiguity.

The "purity/angularity" ($\text{lián}$) of the chime stone should incorporate the latter two meanings. The chime stone (or jade chime stone) is struck, producing a sound that is crisp, sharp, clear-edged, distinct, and not muddled. This sound stands in sharp contrast to the drum's "grandness" ($\text{dà}$), the bell's "substantiality" ($\text{shí}$), and the chime stone’s sound is clear and flowing like water, transparent to the bottom.

The meaning of "regulated" ($\text{zhì}$) is restraint, standard, or rule. Xunzi, The Kingly Way ($\text{Wáng Zhì}$) states: "Regulate ($\text{zhì}$) and then employ it." Here, $\text{zhì}$ means system or restraint. The "regulation" ($\text{zhì}$) of the chime stone implies its quality of measured restraint—it is not overly ostentatious or wildly unrestrained, but characterized by proper limits and measure.

Combining "Pure/Angular" ($\text{lián}$) and "Regulated" ($\text{zhì}$), the chime stone’s character is crisp and distinct, yet measured and restrained. This aligns with the subsequent statement "the chime stone resembles Water"—the character of water is precisely "pure/angular" ($\text{lián}$) and "regulated" ($\text{zhì}$): Water's clarity and transparency constitute its "purity/angularity" ($\text{lián}$) (immaculate clarity), and its tendency to follow the terrain and conform to containers constitutes its "regulation" ($\text{zhì}$) (having restraint, not overstepping boundaries).

Master Laozi speaks of water:

"The highest good is like water. Water benefits myriad things and does not contend; it dwells in places that people disdain, thus it is close to the Dao. Goodness in dwelling is in position; goodness in the mind is in depth; goodness in association is in benevolence; goodness in speaking is in trustworthiness; goodness in governance is in order; goodness in action is in capability; goodness in timing is in movement. Because it does not contend, it is blameless." (Laozi, Chapter 8)

Water’s "non-contention" ($\text{bù zhēng}$) matches the chime stone’s "regulation" ($\text{zhì}$) —measured restraint without aggressive assertion. Water "benefits myriad things" while remaining intrinsically clear, matching the chime stone’s "purity/angularity" ($\text{lián}$) —upright and beneficial to others.

Why does the chime stone, made of hard stone, resemble soft water$14 This is a profound question. Stone is extremely hard; water is extremely soft. How can the sound of a stone instrument resemble water$15 The answer lies in the distinction between "sound" ($\text{shēng}$) and "substance" ($\text{tǐ}$). Although the chime stone’s body is stone (hard), its sound is clear and flowing like water (soft). This embodies Laozi’s principle that "the soft overcomes the hard." The hardness of the stone produces the softness of the sound—there is deep significance here.

The function of the chime stone in the pre-Qin ensemble corresponds to its "pure and regulated" ($\text{lián zhì}$) character. Ancient texts mention:

"Striking the ringing jade-chime ($\text{míng qiú}$), beating the drum, playing the qín and sè in order to chant." (Book of Documents, Yi Ji)

The "ringing jade-chime" ($\text{míng qiú}$) is the chime stone, which served to regulate and conclude sections in the music, possessing a "regulating" ($\text{zhì}$) function. The ancients said, "striking the chime stone to cease the music" ($\text{jī qìng yǐ zhǐ yuè}$); the chime stone’s clear, short sound was suitable for marking the sections and turning points of a piece, thus fulfilling the function of "regulation" ($\text{zhì}$).