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

Section 1: The Intellectual Lineage of Xunzi's Music Theory

Master Xunzi’s On Music did not arise in a vacuum but inherited a profound Confucian tradition.

Master Kong deeply loved music, and his evaluations and discussions of music are scattered throughout the Analects ($\text{Lún Yǔ}$):

"While in Qi, the Master heard the Shao Music, and for three months did not know the taste of meat. He said, 'I did not think that music could reach such heights!'" (Analects, Shū Er)

Confucius, upon hearing the Shao Music in Qi, lost the taste of meat for three months (an expression of deep absorption), remarking, "I never imagined music could reach such a level!" This use of "reach such heights" ($\text{zhì sī}$) echoes Xunzi’s discussion of "combining the intent of the Dao of Heaven" ($\text{yì tiān dào jiān}$)—that the ultimate state of music can encompass the Dao of Heaven.

"The Master said of the Shao: 'It is perfectly beautiful ($\text{jìn měi}$), and moreover perfectly good ($\text{jìn shàn}$). As for the Wu Music, it is perfectly beautiful, but not perfectly good.'" (Analects, Bā Yì)

Master Kong judged the Shao Music as "perfectly beautiful and perfectly good," and the Wu Music as "perfectly beautiful, but not perfectly good." The use of "perfect/exhaustive" ($\text{jìn}$) here resonates with Xunzi’s "song is purely exhaustive" ($\text{qīng jìn}$), meaning completeness or totality. This is the pursuit of the highest state.

"The Master said: 'It is inspired by the Odes ($\text{shī}$), established by Rites ($\text{lǐ}$), and perfected by Music ($\text{yuè}$)'." (Analects, Tài Bó)

"Perfected by Music" ($\text{chéng yú yuè}$)—the final perfection of character is achieved through music. This places music above rites—rites "establish" ($\text{lì}$) norms, while music "perfects" ($\text{chéng}$) character. Xunzi’s On Music systematically expands upon this judgment—explaining how music can "perfect" man.

Furthermore:

"The Master said: 'Do rites ($\text{lǐ}$) merely mean jade and silk$6 Does music ($\text{yuè}$) merely mean bells and drums$7'" (Analects, Yáng Huò)

Confucius pointed out that rites are not merely external forms like jade and silk, and music is not merely external sounds like bells and drums. The essence of rites is reverence ($\text{jīng jīng}$), and the essence of music is harmony ($\text{hé}$). This insight provides the methodological basis for Xunzi’s "Imagery of Sound and Music"—exploring the "imagery" ($\text{xiàng}$) of sound and music means delving into its inner character beyond the external forms of bells and drums.

Another crucial dimension of Confucius’s musical theory relates music to politics. The Analects, in Duke Ling of Wei ($\text{Wèi Líng Gōng}$), records:

"Yan Hui asked about governing. The Master said: 'Follow the calendar of Xia, use the chariots of Yin, wear the caps of Zhou, and for music, use the Shao Dance. Banish the music of Zheng, and keep away flatterers. The music of Zheng is licentious, and flatterers are dangerous. Licentiousness leads to ruin.'"

"Banish the music of Zheng" ($\text{fàng Zhèng shēng}$)—Reject the music of Zheng (considered licentious and decadent). "For music, use the Shao Dance" ($\text{yuè zé Sháo Wǔ}$)—Music must be the Shao Music and Dance. This demonstrates that the choice of music is a major political decision—whether to employ righteous music or decadent music affects the governance of the state.

Xunzi’s On Music inherits and develops Confucius’s theory. Its core arguments can be summarized as:

1. Music is an inevitability of human nature—man cannot be without music.
2. Music has good and evil distinctions—good music cultivates the heart; evil music corrupts the heart.
3. The former kings created the music of Ya and Song to guide man—using good music to guide natural human desires.
4. Music and Rites complement each other—Rites delineate differences ($\text{bié yì}$), while Music unifies ($\text{hé tóng}$).

This forms the basic framework of Confucian musical theory. The passage "The Imagery of Sound and Music" provides a detailed description of the specific qualities that "Good Music" ($\text{shàn yuè}$) or the sounds of Ya and Song ($\text{yǎ sòng zhī shēng}$) should possess—dà lì, tǒng shí, lián zhì... up to yì tiān dào jiān—all represent the characteristics required of "Good Music."