Okay, here is the translation following your instructions: And: The Dimension of Aesthetic Ideals

Author: Yuan Jixi
Publisher:
Publishing Date: 2001-10-01
Features: The Lüshi Chunqiu discusses the origin of "harmony" primarily from the perspective of the origins of music. In its Dalue chapter, when discussing the origin of music, it states: "The origins of music are far-reaching: it arises from measurement and is rooted in the Great One. The Great One gives rise to the Two Principles (Yin and Yang), which in turn give rise to Yin and Yang. The transformation of Yin and Yang, alternating between rising and falling, combines to form patterns. Confused and indistinct, they separate and then recombine, this is called the eternal law of heaven. The celestial wheel turns, ending only to begin anew, reaching its extreme only to return, all being appropriately timed. The sun, moon, and stars move at varying speeds. The sun and moon differ, yet complete their paths. The four seasons rise and fall, alternating between heat and cold, length and shortness, softness and hardness. All things originate from the Great One and are transformed by Yin and Yang. Sprouting and trembling, they condense into form. Forms have their places, and none lack sound. Sound arises from harmony, and harmony arises from appropriateness. Harmony and appropriateness are the foundations upon which the ancient kings established music. When the world is at peace and all things are tranquil, they are transformed by this harmony, and then music can be achieved." This passage describes how music originates from the initial foundation "the Great One," passes through the interaction and transformation of Yin and Yang, and ultimately becomes one with heaven and all things. The Lüshi Chunqiu's view on the origin of music is clearly influenced by the Zhouyi Zhuan (Commentary on the Changes). The Zhouyi Zhuan states when describing the ethereal transformation and generation of all things: "Therefore, the Zhouyi has the Great Ultimate, which gives rise to the Two Principles, which in turn give rise to the Four Symbols, and the Four Symbols form the Eight Trigrams." The Lüshi Chunqiu uses this to explain the origin of music, believing that "all things originate from the Great One and are transformed by Yin and Yang," and that music is also rooted in the Great One. However, the Lüshi Chunqiu emphasizes several points in its discussion of the formation of music:
1. Music arises from "forms having their places, and none lacking sound," meaning that after all things are formed, the vibrations of moving objects produce music. This is closer to materialism than the vague statements of some thinkers during the Spring and Autumn period, such as "qi gives rise to the five flavors, manifestation gives rise to the five colors, and pattern gives rise to the five sounds."
2. It connects the "harmony" of music to the "harmony" of heaven and earth, believing that the harmony of music is rooted in the harmony of nature, "the four seasons rise and fall, alternating between heat and cold, length and shortness, softness and hardness," and that the harmony of music is a reflection of the harmony of nature in sound. Moreover, the harmony of music is also influenced by social and human affairs, "when the world is at peace and all things are tranquil, they are transformed by this harmony, and then music can be achieved." Conversely, "if the ruler and subject are out of place, father and son are out of their places, husband and wife are out of harmony, and the people groan, how can music be considered enjoyable?" Thus, the harmony of music reflects the state of society and the world.
3. Most importantly, in the pre-Qin thought of "valuing harmony as beauty," it proposes "sound arises from harmony, and harmony arises from appropriateness," elevating 'appropriateness' as the highest category of 'harmony,' believing that "the ancient kings established music based on this." This represents a significant advancement over the music theories of figures like Xunzi. The Lüshi Chunqiu discusses 'appropriateness' first as a state of mind in the aesthetic process, believing that the state of mind determines whether the aesthetic object is suitable for the subject. In other words, achieving a harmonious aesthetic state depends not only on the object itself but also on the subject. The Lüshi Chunqiu, in its chapter Shiyin (Appropriateness of Sound), states: "The ear desires sound, but if the heart is not pleased, even the five sounds presented before it will not be heard; the eyes desire color, but if the heart is not pleased, even the five colors presented before it will not be seen; the nose desires fragrance, but if the heart is not pleased, even fragrant scents presented before it will not be smelled; the mouth desires flavor, but if the heart is not pleased, even the five flavors presented before it will not be eaten. The desire for these things comes from the ear, eyes, nose, and mouth. What prevents enjoyment comes from the heart. The heart must be peaceful before enjoyment can be achieved. Only when the heart is pleased can the ear, eyes, nose, and mouth desire these things. Therefore, the pursuit of music lies in harmonizing the heart, and harmonizing the heart lies in practicing appropriateness." The Lüshi Chunqiu points out here that the pursuit of beauty in sound and color is inherent in human nature. However, whether external sounds, colors, and flavors can become aesthetic objects for people depends on the state of the subject's mind. If the mind is not pleased, even the most beautiful sounds, colors, and flavors cannot become objects. As Marx said, "a worried poor person is even indifferent to the most beautiful scenery." ① During the Wei and Jin periods, Ji Kang, in his famous On the Absence of Grief in Music, proposed "harmonious sounds lack form, but grieving hearts have a focus," which was deeply inspired by this idea in the Lüshi Chunqiu. The Lüshi Chunqiu further states "the heart must be peaceful before enjoyment can be achieved," emphasizing that only when the subject is in a harmonious state of mind can they perceive and appreciate beautiful sounds, colors, and flavors, forming aesthetic effects. This breaks the notion of figures like Xunzi that harmony is merely an external influence. "Appropriateness" also includes factors related to the aesthetic object. The author of the Lüshi Chunqiu points out: "Sound also requires appropriateness. If it is too loud, the will is disturbed; if one listens to loud sounds while disturbed, the ear cannot bear it, and if the ear cannot bear it, it becomes blocked, and if blocked, it vibrates; if it is too soft, the will is suspicious; if one listens to soft sounds while suspicious, the ear does not fill, and if the ear does not fill, it does not resonate; if it is too clear, the will is in danger; if one listens to clear sounds while in danger, the ear becomes exhausted, and if exhausted, it cannot reflect; if it is too muddled, the will is low; if one listens to muddled sounds while low, the ear does not gather, and if the ear does not gather, it does not harmonize. Therefore, too loud, too soft, too clear, or too muddled are all inappropriate. What is appropriateness? It is the 'heart of sound,' meaning just right, 'neither too large nor too small, nor too heavy nor too light.' The palace of Huangzhong is the root of sound, and the balance of clarity and muddiness is appropriateness. Appropriateness is also appropriateness. Listening to appropriateness with appropriateness results in harmony." (Shiyin) The author of the Lüshi Chunqiu elaborates in detail on the relationship between the appropriateness of sound and the appropriateness of the subject. They believe that excessively loud or soft, clear or muddled sounds will stimulate the physiological senses and cause discomfort. What is 'appropriateness'? It is the 'heart of sound,' meaning just right, "neither too large nor too small, nor too heavy nor too light," and only such harmonious sounds can make the subject feel harmonious and comfortable. For this reason, the Lüshi Chunqiu proposes adjusting the sounds to suit people, achieving harmony between the subject and object. "Music has emotions, just like the emotions of the skin and body. If there are emotions, there must be nurturing. Cold, warmth, labor, rest, hunger, and fullness are the six things that are not appropriate. In nurturing, one must first recognize what is not appropriate and then make it appropriate. If one can long remain in appropriateness, then growth will occur." (Chilo) The author emphasizes that the harmony of music lies in making people appropriate, and criticizes the sounds of chaotic times that "value loudness as beauty, value multitude as spectacle, imitate the strange and the rare, and the ears have never heard, the eyes have never seen, striving to surpass each other without using measure," believing that only appropriate sounds can achieve harmony. The "appropriateness" here, from the perspective of the subject, lies in regulating desires to align with the needs of nurturing life and preserving nature. In this regard, the author of the Lüshi Chunqiu incorporates Confucian thought of "controlling desires with the Dao," believing that necessary restraint is the prerequisite for achieving "harmony," which differs from the Daoist view of pure natural indulgence. The Lüshi Chunqiu believes: "Heaven has created people with greed and desires. Desires have emotions, and emotions have limits. The sages regulate limits to restrain desires, so they do not overindulge their emotions. Therefore, the ear desires the five sounds, the eyes desire the five colors, and the mouth desires the five flavors—these are emotions. These three things, whether noble or humble, wise or foolish, desire them equally. Even Shennong and Huangdi were the same as Jie and Zhou in this regard. The difference between the sages lies in their understanding of emotions. Understanding emotions through the value of life means understanding emotions. Not understanding emotions through the value of life means losing emotions. These two are the roots of life and death." (Qingyu) Regarding the human nature of responding to stimuli and giving rise to emotions and desires, which then manifest as preferences for sounds, colors, and flavors, the Lüshi Chunqiu is clearly influenced by the Liji. However, Xunzi guides desires toward rites and propriety, stating: "If a person is guided by rites and propriety, they gain both; if they are guided by emotions and nature, they lose both." (Xunzi·Lilun) The Lüshi Chunqiu, however, emphasizes restraining emotions to moderate as a means of preserving life, ensuring the free development of individual physical and mental health, "Therefore, the sages create all things to preserve their natural essence. When the natural essence is preserved, the spirit is harmonious." (Gui Sheng) In its chapter Gui Sheng (Preserving Life), it also proposes: "The so-called preserving life means that all six desires are appropriately satisfied; the so-called impaired life means that the six desires are partially satisfied." In addition to regulating desires for the sake of preserving life, the Lüshi Chunqiu also advocates restraining desires from a rational and moral perspective. The Lüshi Chunqiu states: "Human nature desires longevity and abhors death, desires peace and abhors danger, desires honor and abhors disgrace, and desires ease and abhors labor. When these four desires are achieved and the four aversions are eliminated, the heart is appropriate. Achieving these four desires lies in mastering the Dao. Mastering the Dao to govern the body ensures life is complete, and life is complete ensures longevity; mastering the Dao to govern the state ensures laws are established, and laws are established ensures the world submits. Therefore, the pursuit of appropriateness for the heart lies in understanding the Dao." (Shiyin) Here, the "understanding the Dao" includes controlling desires with reason. The Lüshi Chunqiu, in its chapter Dalue (Great Music), states: "Achieving music requires certain conditions, which must involve restraining desires. If desires are not restrained, music cannot be pursued. Pursuing music requires methods, which must involve a balanced starting point. Balance arises from fairness, and fairness arises from the Dao. Therefore, only those who understand the Dao can speak of music! The of a state and the massacre of its people are not without music, but their music is not enjoyable, similar to this. If the ruler and subject are out of place, father and son are out of their places, husband and wife are out of harmony, and the people groan, how can music be considered enjoyable?" Here, the "fairness" carries the meaning of the Daoist school's value of fairness, and the "Dao" has the meaning of Confucian social ethics and morality. The author of the Lüshi Chunqiu advocates using music to harmonize the relationships between the ruler and subject and husband and wife, clearly belonging to Confucian didactic theory. The Lüshi Chunqiu blends Confucianism and Daoism, advocating the use of reason and morality to guide desires and restrain inclinations, combining the preservation of life, nurturing nature, and governing the state to achieve a harmonious and balanced aesthetic subject. Its concept of "harmony" directly inspired the philosophy and aesthetics of Liu An of the Huainan Kingdom in the early Western Han period, marking a turning point.