Confucius on Restoring Ritual Music After Years of Travel

9·15 The Master said, “Since I returned from Wei to Lu (1), music and poetry (2) have been put in their proper places.”

[Notes]

(1) Self-defense and return to Lu: In the winter of 484 BC (the 11th year of the reign of the Lu king Ai), Confucius returned to Lu from Wei, ending 14 years of wandering.

(2) Yuzheng: Adjusting the chapters of a piece of music.

(3) Yasoong: This is the name of two different types of poems in the Book of Songs. It also refers to the names of music such as Yayu and Songyu.

Translation

Confucius said, “After I returned from Wei to Lu, the music was arranged, and the music of the Ya and Song was properly arranged.”

Confucius, one of China’s greatest philosophers, profoundly impacted the development of Chinese culture, especially through his thoughts on ritual and music. In a reflection on his experiences, Confucius stated, “After returning to the state of Lu from Wei, I was able to restore the proper order of music and ensure that both the elegant and the hymnal music were appropriately arranged.”

Restoring Harmony in Music and Ritual

In 484 BCE, Confucius returned to Lu after a 14-year period of wandering through various states. This period was marked by significant travels, during which he sought to spread his teachings and refine his philosophical ideas. Upon his return, Confucius noted a significant achievement: he had the opportunity to reorganize and restore the traditional music of Lu, which had suffered from neglect during his absence.

Confucius’s statement highlights his commitment to preserving cultural practices that were essential to the social and spiritual fabric of his time. The term “乐正” (Yue Zheng) refers to the act of correcting and standardizing music, a critical aspect of ensuring that rituals and ceremonies were performed correctly. Music played a crucial role in Confucian rituals, which were not just artistic expressions but also vital for maintaining social order and harmony.

The Importance of 雅乐 and 颂乐

Confucius’s reference to “雅乐” (Ya Yue) and “颂乐” (Song Yue) pertains to two distinct categories of music found in the Book of Songs (《诗经》). “雅乐” refers to elegant music used in court and ritual contexts, while “颂乐” encompasses hymnal music used for ceremonial purposes. These forms of music were integral to Confucian rituals and were designed to foster a sense of propriety and reverence in both public and private settings.

The restoration of these musical forms was more than a mere administrative task for Confucius. It was an act of cultural rejuvenation, aimed at reinstating the harmony and decorum that had been disrupted during his absence. By realigning the musical traditions with their intended purposes, Confucius sought to reinforce the values and customs that underpinned his philosophical teachings.

Cultural Significance and Legacy

Confucius’s efforts to restore the musical traditions of Lu underscore his dedication to the preservation and promotion of cultural heritage. In Confucian philosophy, music and ritual are deeply intertwined with the moral and social order. Through his work, Confucius demonstrated how restoring traditional practices could help realign society with its ethical and spiritual ideals.

The impact of Confucius’s actions was not limited to his time. His emphasis on the importance of ritual and music has influenced Chinese cultural practices for centuries. Today, his teachings continue to be studied and respected for their insights into the role of tradition in maintaining social harmony and moral integrity.