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

Section 6: Qin and Se and Human Relations — The Civilizing Narrative of String Instruments

In ancient culture, the qín and sè were not just instruments but symbols of human relationships.

The pairing of qín and sè in pre-Qin poetry often symbolizes marital harmony. The Book of Odes, Airs of Zhou, Guan Ju ($\text{Guān Jū}$), states:

"The graceful, modest young lady, the qín and sè delight her." ($\text{yǎo tiǎo shū nǚ, qín sè yǒu zhī}$)

"Delight her with qín and sè" ($\text{qín sè yǒu zhī}$) uses the pairing of qín and sè to liken closeness and harmony with a modest lady.

The Book of Odes, Airs of Zheng ($\text{Zhèng Fēng}$), Nǚ Yuē Jī Míng ($\text{Nǚ Yuē Jī Míng}$), states:

"The qín and sè are being played; all is quiet and well." ($\text{qín sè zài yù, mò bù jìng hǎo}$)

"The qín and sè are being played, all is quiet and well" ($\text{qín sè zài yù, mò bù jìng hǎo}$)—the harmonious playing of qín and sè depicts the perfect state of marital bliss.

Furthermore, the Book of Odes, Minor Odes of the Kingdom, Chang Di ($\text{Cháng Dì}$), states:

"Wives and children blend well, like the striking of the sè and qín. When brothers are united, the harmony is deep and profound." ($\text{qī zǐ hǎo hé, rú gǔ sè qín. xiōng dì jì xī, hé lè qiě zhàn}$)

"Wives and children blend well, like the striking of the sè and qín" ($\text{qī zǐ hǎo hé, rú gǔ sè qín}$)—the harmony among wives and children is compared to the harmonious performance of the sè and qín.

Why could the qín and sè symbolize spousal harmony$4

From a qualitative perspective, the qín's "pleasantly feminine" ($\text{fù hǎo}$, gentle and graceful) and the sè's "easily good" ($\text{yì liáng}$, mild and kind) are complementary—one soft, one warm, mutually supporting, like husband and wife—one gentle, one benevolent.

From a performance perspective, the qín and sè are often played together, one player on the qín and another on the sè, their sounds intertwining and responding to each other, like a dialogue between husband and wife—a phrase from one followed by a response from the other.

From a cultural perspective, the making and teaching of the qín and sè carried sacred overtones. Tradition holds that Fuxi created the qín, and Shennong created the sè—both were creations of Sage Kings. The sound of the qín and sè was not merely pleasant but also served to cultivate the self and communicate with the divine.

Xunzi assigns the qín the quality of "pleasantly feminine" ($\text{fù hǎo}$) and the sè the quality of "easily good" ($\text{yì liáng}$). This distinction is telling. If we compare the qín and sè to a married couple: the qín is the "female" ($\text{fù}$), embodying feminine virtue ($\text{fù dé}$); the sè is the "easily good" ($\text{yì liáng}$), implying the masculine quality of peace and openness ("straightforward and open" ($\text{tǎn tǎn duò duò}$) is an aspect of $\text{yì}$).

Why did the ancients distinguish the qín as Yin and the sè as Yang$5

Structurally, the qín has fewer strings (five or seven) and the sè has more (twenty-five or more). Few strings are Yin; many strings are Yang—the qín's fewer strings are Yin; the sè's greater number of strings are Yang. Tonally, the qín's sound is subtle and reserved (Yin); the sè's sound is mild and expansive (Yang). In performance technique, the qín requires subtle fingerwork (Yin), while the sè performance is generally more sweeping and grand (Yang).

This Yin-Yang pairing allows the qín and sè ensemble to achieve perfect "harmony" ($\text{hé}$)—the mutual complementation of Yin and Yang, the balance of hard and soft, movement and stillness—just like the harmony between husband and wife.