influence, and therefore is not accompanied with music. All modulation of sound partakes of the character of development.
5. The number of tripods and meat-stands was odd, and that of the tall dishes of wood and bamboo was even[1]; this also was based in the numbers belonging to the developing and receding influences. The stands were filled with the products of the water and the land. They did not dare to use for them things of extraordinary flavours[2] or to attach a value to the multitude and variety of their contents, and it was thus that they maintained their intercourse with spiritual intelligences.
6. When the guests had entered the great door[3], the music struck up the Sze Hsiâ[4], showing the blended ease and respect (of the king). (While feasting), at the end of (every) cup the music stopped (for a moment), a practice of which Confucius often indicated his admiration. When the last cup had been put down, the performers ascended the hall, and sang;—exhibiting the virtues (of host and guests). The singers were (in the hall) above, and the organists
were (in the court) below;—the honour being thus
- ↑ Every Chinese scholar knows that odd numbers all belong to the category of Yang (———), and even numbers to that of Yin (— —).
- ↑ The meaning of this clause is uncertain, and I have not found it anywhere sufficiently explained, considering what the characters are (褻味).
- ↑ This paragraph and the next describe ceremonies on occasion of the king's reception of the great nobles, when they appeared in great force at court. With this the expurgated Lî Kî begins.
- ↑ See note i, page 413.
E e 2
