Yan Hui asked Confucius, “How should one govern a state?”
The Master replied, “Use the Xia dynasty’s calendar, ride the Shang dynasty’s chariot, wear the Zhou dynasty’s ceremonial cap, and for music, adopt the Shao and Wu dances. Ban the music of Zheng and keep away from flattering and crafty people. The music of Zheng is licentious, and crafty people are dangerous.”
Note
This passage from the Analects of Confucius concisely presents his vision of ideal governance, reflecting his cultural conservatism and moral-political philosophy that synthesizes the best of the Three Dynasties (Xia, Shang, Zhou).
Confucius does not advocate blind restoration but selective adoption of the best practices: the Xia calendar best aligns with natural seasons and agriculture; the Shang chariot is simple and functional; the Zhou ceremonial cap embodies refined ritual propriety; and the Shao and Wu music (attributed to sage-kings Shun and King Wu) are morally uplifting and aesthetically perfect, capable of cultivating character and transforming customs. Together, they represent exemplary models of temporal order, material institutions, ritual dress, and cultural education.
“Ban the music of Zheng and keep away from crafty people” draws clear moral boundaries: Zheng music, with its sensual melodies and emotional excess, was seen by Confucians as “licentious” – corrupting public morality; “crafty people” use flattery and deceit to manipulate rulers and disrupt governance, thus posing grave political risks.
This passage reveals the Confucian core principle of “governing through ritual and music”: good governance relies not only on laws but on cultural edification and moral atmosphere. Ritual and music are not empty forms but external expressions of inner virtue; eliminating “licentious sounds” and “flatterers” purifies social climate and ensures political clarity.
Notably, Confucius pairs “music” with “personnel,” showing he views culture and human appointments as twin pillars of statecraft. This echoes later maxims like “To transform customs, nothing is better than music” (Classic of Filial Piety) and “Draw close to the virtuous, distance yourself from petty men.”
For modern society, this offers insight: a healthy polity requires both inheriting worthy traditions (e.g., respecting natural rhythms, valuing simplicity, maintaining ceremonial dignity) and guarding against the erosion of public reason by hedonistic entertainment and manipulative rhetoric.
In short, Confucius teaches: The Way of governing lies in adopting the finest institutions of ancient sages, nurturing virtue through ritual and music, and rectifying society by rejecting corrupting influences – only then can peace prevail.
Further Reading
The Master said of the Shao: “It is perfectly beautiful and perfectly good.” Of the Wu: “It is perfectly beautiful, but not perfectly good.” Analects 3.25 (Ba Yi)
Shows Confucius’ high regard for Shao music as morally ideal – supporting its selection in state ritual.
When the Master heard the Shao music in Qi, for three months he did not taste meat, saying, “I never imagined music could reach such perfection!” Analects 7.14 (Shu Er)
Demonstrates Confucius’ profound emotional and moral response to Shao – validating its role as the ideal musical model for governance.
The Master said, “Was Zang Wenzhong not a usurper of office? He knew of Liu Xiahui’s worth but did not help him gain position.” Analects 15.14 (Wei Ling Gong)
Criticizes failure to appoint the worthy – parallel to the imperative to “distance from crafty people” and promote the virtuous.
顏淵問為邦。子曰：「行夏之時，乘殷之輅，服周之冕，樂則韶舞。放鄭聲，遠佞人。鄭聲淫，佞人殆。」
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