The Image of Music and Sound in Xunzi's 'On Music': A Study of Character, Cosmos, and the Cultivation of Rites and Music
This paper offers an in-depth interpretation of the 'Image of Music and Sound' (Sheng Yue zhi Xiang) discussed in Xunzi's 'On Music,' clarifying the Pre-Qin meaning of 'Xiang' (image/analogy) and elucidating how the qualities of sound correspond to the myriad things in the cosmos. It further situates this correspondence within Xunzi's Confucian framework of 'transforming human nature through rites and music' to explore the cosmological significance and pedagogical function of music.
Section 7: The Instrument Lineage and the Cosmological Diagram: A Holistic Analysis
Reviewing the correspondence established in the previous sections, the system constructed by Master Xunzi can be diagrammed as follows:
| Cosmic Element | Corresponding Instrument | Quality | Function |
|---|---|---|---|
| Heaven | Drum ($\text{gǔ}$) | Grandly Beautiful ($\text{dà lì}$) | Sovereign Command, sets rhythm |
| Earth | Bell ($\text{zhōng}$) | Comprehensively Substantial ($\text{tǒng shí}$) | Bears the foundation, sets pitch |
| Water | Chime Stone ($\text{qìng}$) | Pure and Regulated ($\text{lián zhì}$) | Mediates and regulates, marks points |
| Stars, Sun, Moon | Yú, Shēng, Xiāo, Guǎn, Yuè | Harmony ($\text{hé}$), Fierceness ($\text{fā měng}$) | Interjects melody, adds brilliance |
| Myriad Things | Táo, Zhù, Fǔ, Gé, Qiāng, Jié | Diverse | Enriches detail, adds color |
This system is constructed with rigorous logic:
First Level: Heaven—Drum. Heaven is the supreme, largest, and unifying entity of the cosmos. The drum is the supreme, largest, and unifying entity among instruments. Both are "sovereigns."
Second Level: Earth—Bell. Earth is the foundation, the bearer of all things. The bell is the foundation, the bearer of pitch. Both are "foundations."
Third Level: Water—Chime Stone. Water flows between Heaven and Earth, acting as a mediator and regulator. The chime stone interjects between the drum and bell, marking critical points—Water mediates between Heaven and Earth; the chime stone mediates between the drum and bell. Both are "intermediaries."
Fourth Level: Stars, Sun, Moon—Wind Instruments. These are the luminous bodies that illuminate the sky. The wind instruments are the bright voices of the ensemble, adding brilliance. Both are "illuminators."
Fifth Level: Myriad Things—Small Instruments. The myriad things fill the spaces between Heaven and Earth, providing richness and diversity. The small instruments fill out the ensemble, providing richness and color. Both are "substance/filling."
Five levels of correspondence, distinct in hierarchy, rigorous in logic. This is not arbitrary comparison but is based on profound "taking of imagery" ($\text{qǔ xiàng}$): by discerning the common characteristics shared between the qualities of the instruments and the qualities of the cosmic elements, an intrinsic link is established. This is a concrete demonstration of the pre-Qin thought of "Correspondence between Heaven and Man" ($\text{tiān rén xiāng yìng}$).
The Yijing, Great Treatise ($\text{Xì Cí}$), Second Part, states:
"The greatest virtue of Heaven and Earth is to give life; the greatest treasure of the Sage is his position ($\text{wèi}$). How is position maintained$20 By benevolence ($\text{rén}$). How are men gathered$21 By wealth ($\text{cái}$). To arrange wealth and correct speech, restraining men from wrongdoing, is righteousness ($\text{yì}$)."
The virtues of Heaven and Earth correspond to the governance of the Sage. Xunzi's "Imagery of Sound and Music" follows the same logic: the composition of the band corresponds to the structure of the cosmos. This shared thinking manifests in different domains.
We must now ask a more fundamental question: Is the correspondence between the instrument lineage and the cosmological diagram "natural" or "a human construction"$22 In other words, do the qualities of the instruments actually share intrinsic commonalities with the qualities of Heaven, Earth, and the myriad things, or is this Master Xunzi’s imposed analogy$23
From the perspective of Xunzi’s thought, the answer is both. On one hand, Xunzi acknowledges that the qualities of instruments have a material basis—the leather sound is deep like Heaven’s vastness; the metal sound is rich like Earth’s substance; the stone sound is crisp like Water’s clarity—this is the "natural" correspondence ($\text{zì rán zhī xiāng tōng}$). On the other hand, systematically constructing this correspondence into a complete system is "human artifice" ($\text{rén wéi}$)—it is the wisdom of the Sages (the former kings) that created this cultural order.
This aligns perfectly with Xunzi’s core concept of "transforming nature and cultivating artifice" ($\text{huà xìng qǐ wěi}$): "Nature" ($\text{xìng}$) is the natural state; "Artifice" ($\text{wěi}$) is the human endeavor. The natural quality of the instrument is its "nature," while organizing it into an orderly ensemble corresponding to the cosmological diagram is "artifice." The greatness of the Sage lies in perceiving the "principle" ($\text{lǐ}$) contained within "nature" (natural qualities) and realizing it through "artifice" (human creation).