palate from all within the four seas and the nine provinces. The fruits and grain presented in the high dishes of wood and bamboo were the product of the harmonious influences of the four seasons. The tribute of metal showed the harmonious submission (of the princes). The rolls of silk with the round pieces of jade placed on them showed the honour they rendered to virtue. The tortoise was placed in front of all the other offerings, because of its knowledge of the future; the tribute of metal succeeded to it, showing the (hold it has on) human feelings. The vermilion, the varnish, the silk, the floss, the large bamboos and the smaller for arrows—the articles which all the states contribute; with the other uncommon articles, which each state contributed according to its resources, even to those from the remote regions:—(these followed the former). When the visitors left they were escorted with the music of the Sze Hsiâ[1]. All these things showed how important was the sacrifice.
18. In the sacrifice to God in the suburb, we have the utmost expression of reverence. In the sacrifices of the ancestral temple, we have the utmost expression of humanity. In the rites of mourning, we have the utmost expression of leal-heartedness. In the preparation of the robes and vessels for the
dead, we have the utmost expression of affection. In
- ↑ We are told in the Kâu Lî, Book XXIII, art. 32, that the bell master, with bells and drums, performed the nine Hsiâ pieces, on the occasions appropriate to them. The second of them was "the Sze Hsiâ," as here, but the occasion for it in the text would be inappropriate. The eighth, or Kâi Hsiâ would be appropriate here, and hence Kǎng said that sze was a mistake for kâi (陔).
