3.25
The Master spoke of the Succession Dance as being perfect beauty and at the same time perfect goodness; but of the War Dance as being perfect beauty, but not perfect goodness.
子謂韶，「盡美矣，又盡善也。」謂武，「盡美矣，未盡善也」。
Notes
In Confucian tradition, “music” was never mere entertainment but a tool for moral transformation. This Confucius’ evaluation of the ancient Shao and Wu music-dances from the Analects distinguishes between aesthetic and ethical standards, revealing Confucianism’s dialectical view of art: ultimate artistic value lies in the unity of beauty and goodness, with ethical excellence as the supreme priority.
Beauty: Aesthetic excellence in form
Both Shao and Wu achieved “consummate beauty” — harmonious melodies, dignified choreography, and rhythmic order, fulfilling Confucian formal requirements. This beauty provides sensory pleasure, forming art’s foundation.
Goodness: Ethical excellence in substance
“Goodness” hinges on alignment with Confucian virtues like benevolence, righteousness, and harmony.
- Shao Music: Depicts Emperor Shun’s virtuous ascension — no war or bloodshed, embodying “perfect goodness” through moral persuasion.
- Wu Music: Portrays King Wu’s military conquest. Though justifiable (King Zhou’s tyranny), its violence (“subjugation by force”) conflicted with Confucian pacifist ideals, thus being “ethically incomplete”.
Confucius’ critique establishes a timeless standard: “Art’s highest value is the unity of beauty and goodness, with ethical excellence as its soul.” Consummate beauty is art’s base; consummate goodness is its pinnacle — one delights the senses, the other elevates the spirit. This is Confucian musical philosophy.
Leave a Reply