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Confucius said of the lord of Ji Family, "The royal dance of eight teams are performed in his courtyard. If this can be tolerated, what cannot?"
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At the end of the Three Families' sacrifice, King Wu's prayer to King Wen was sung: "The princes at the side Of the king dignified," The Master said, "What has the royal prayer to do with the Three Families? How could it be sung in their hall?"
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If a man is not good, said the Master, what is the use for him to perform the rites? If a man is not good, what is the use for him to perform music?
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Lin Fang asked about the fundamental of the rites. "A significant question!" said the Master. "In ritual performance, it would be better to be thrift than lavish; in mourning service, it would be better to be deep in grief than minute in observance."
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The barbarian tribe with a sovereign, said the Master, is not so good as a civilized state without one.
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The lord of Ji Family was going to perform the royal ceremony of sacrifice to Mount Tai. The Master asked Ran You if he could prevent it, and Ran You answered he could not. Then the Master said, "Alas! does Mount Tai not know what Lin Fang does about the rites?" (Could it accept the royal sacrifice offered not by a prince but by a lord?)
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Cultured men do not contest, said the Master. Even in archery, the archers bow and make way for each other before the contest and drink after it. Such is the rivalry between cultured men.
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Zi Xia asked about the meaning of the following verse: "Ah! Dark on white her speaking eyes, Her cheeks with smiles and dimoles glow. Colored designs are made on plain silk." The Master said, "Colors should be put on the plain ground." Zi Xia asked if the rites should be performed on some ground. The Master said, "It is Zi Xia who understands me. Now I have someone with whom to talk about poetry."
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The rites of the Xia dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.
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At the ancestral sacrificial service of the Duke of Lu, said the Master, I would not attend after the libation, for the royal ceremony should not be performed by a duke.
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Asked about the imperial sacrifice, the Master said, "I do not know it. Those who know it may see an empire as clearly as his palm."
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Sacrifice to the dead as if they were living, and to the divinities as if they were present. If I do not think they are present, said the Master, I had better not sacrifice at all.
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Wangsun Jia asked if it would be better to pray to home divinities than to those in Heaven. "No," said the Master," if you sin against Heaven, what is the use of praying?"
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The Zhou dynasty, said the Master, has profited from the two preceding dynasties. What a wealth of culture it has accumulated! I would rather follow the Zhou system.
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When the Master entered the grand temple, he asked about everything there. Someone remarked, "Who would say this son of a villager from Zou knows the rites? When he entered the grand temple, he asked about everything." Hearing of this, the Master said, "This is just a part of the rites."
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In archery, said the Master, the principal thing is to hit, not to pierce through. Such is the way of the ancients. For archers are not equal in strength.
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Zi Gong wanted to do away with the sacrificial sheep on the first day of each moon. The Master said, "Zi Gong, you care for a sheep while I care for the rites."
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One who serves his prince nowadays in strict accordance with the rites, said the Master, would be considered as a sycophant.
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When Duke Ding asked how a prince should employ his ministers and how ministers should serve their prince, Confucius replied, "The prince should employ his ministers in accordance with the rites and the ministers should be devoted to the prince."
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Cooing and Wooing (the first song in the Book of Poetry), said the Master, tells us pleasure and grief should not go to excess.
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When Duke Ai asked Zai Wo what symbol was used in the altar, Zai Wo replied, "The Xia rulers used the pine, the Yin rulers used the cypress, and the Zhou rulers used the chestnut, which means to chase the people off their nut." Hearing of this, the Master said, "What is done cannot be undone; what is accomplished need not be criticized, what is bygone need not be blamed."
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The Master said, "Guan Zhong was not a great minister." When asked if Guan Zhong was frugal, the Master said, "Guan Zhong had three granaries while his official duties were not performed, how could he be considered frugal?" When asked if Guan Zhong knew the rites, the Master said, "Only the prince may build a wall to screen the gate of his mansion, but Guan Zhong had one before his. Only the prince may use a stand for cups to entertain his guests, but Guan Zhong used one. If he knew the rites, who does not?"
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Talking about music with the great master of the State of Lu, the Master said, "It is not difficult to perform music. In the beginning all the musical instruments should be played in high spirit. Then the music should be harmonious, distinct and flowing without breaking up to the end."
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The guardian of the border at Yi asked to be presented to the Master, saying, "When a man of renown has come here, I have never been denied an interview." A follower of the Master presented him. After the interview, he said to two or three of the followers, "Why are you distressed at your master's unemployment? The world has gone out of the right way for long. Heaven would employ your master as an alarm bell."
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The Master said of the Inauguration Music as perfectly beautiful and perfectly good, and the Martial Dance as perfectly beautiful but not perfectly good.
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High office filled without generosity, said the Master, ceremony performed without reverence, and mourning observed without grief, how can I bear to see such things!
Ritual Propriety and Music: The Aesthetic and Moral Order
Chapter 3, Ba Yi (八佾) or "Rites and Music," is devoted to one of the most distinctive aspects of Confucian thought: the central importance of ritual (礼, li) and music (乐, yue) in cultivating moral character and maintaining social harmony. Named after the eight-row dance performed at the royal court, this chapter records Confucius's sharp criticism of the powerful Ji family for presuming to use this imperial ritual—a violation that symbolized the broader collapse of proper social order in his time.
For Confucius, ritual is far more than empty ceremony. It is the embodied practice through which respect, hierarchy, and human feeling find their proper expression. Music, similarly, is not mere entertainment but a powerful force for moral education and emotional cultivation. Together, rites and music create the aesthetic and ethical texture of a well-ordered society.
This chapter also contains some of the most vivid evidence of Confucius's conservative temperament—his insistence that form and substance must align, that outward observances carry inner moral significance, and that the erosion of ritual standards signals the decay of civilization itself. These ideas remain central to understanding East Asian cultures' emphasis on ceremony, propriety, and the social dimensions of moral life.
- Li (礼) - Ritual Propriety: The system of rites, ceremonies, and social conventions that give structure to human relationships and express moral values in embodied form.
- Yue (乐) - Music: Music as a moral force that harmonizes emotions, cultivates virtue, and reinforces social cohesion. Confucius favored the elegant and restrained over the licentious.
- Ba Yi (八佾) - Eight-Row Dance: An imperial ritual dance whose unauthorized performance by lesser nobles exemplified the breakdown of proper social distinctions.
- Simplicity vs. Extravagance: Confucius argued that in ritual, genuine sorrow or reverence matters more than lavish expenditure—substance must guide form.
In Confucianism, rites (li) and music (yue) are essential because they cultivate moral character and social harmony through embodied practice. Rites provide the structure for expressing respect and maintaining proper relationships, while music harmonizes emotions and reinforces ethical values. Together they create a society where moral behavior feels natural rather than forced.
The eight-row dance (ba yi) was a ceremonial dance reserved exclusively for the Zhou king. When the powerful Ji family performed it in their courtyard, Confucius was outraged because this act violated ritual propriety and signaled the usurpation of royal authority. It became a symbol of the broader moral and political disorder of his era.
No. Confucius insisted that ritual without genuine feeling is meaningless—he asked, "What has ritual to do with jade and silk?" The outer forms of ritual are meant to express and cultivate inner moral states such as reverence, respect, and compassion. The form and the feeling must go together.
Chapter 10 - Mannerism: Demonstrates ritual propriety in action through detailed accounts of Confucius's own daily conduct.
Chapter 9 - Etiquette: Explores Confucius's approach to proper conduct and the topics he considered rare or important.
Chapter 17 - Tact: Discusses the flexibility required in applying ritual principles to changing circumstances.