the great carriage served for display, but did not awaken a fondness for their use.
The various dances displayed the gravity of the performers, but did not awaken the emotion of delight. The ancestral temple produced the impression of majesty, but did not dispose one to rest in it. Its vessels might be employed (for their purposes in it), but could not be conveniently used for any other. The idea which leads to intercourse with spiritual Beings is not interchangeable with that which finds its realisation in rest and pleasure.
16. Admirable as are the spirits and sweet spirits, a higher value is attached to the dark spirit and the bright water[1],—in order to honour that which is the source of the five flavours. Beautiful as is the elegant embroidery of robes, a higher value is set on plain, coarse cloth,—going back to the commencement of woman's work. Inviting as is the rest afforded by the mats of fine rushes and bamboos, the preference is given to the coarse ones of reeds and straw,—distinguishing the (character of the service in which they were employed). The Grand soup is unseasoned,—in honour of its simplicity.
The Grand symbols of jade have no engraving on them,—in admiration of their simple plainness. There is the beauty of the red varnish and carved border
- ↑ We have seen, before, that "the dark spirit" is water. Was there a difference between this and "the bright water?" The Khen-lung editors think so, and refer to the functions of the Sze Hsüan officer (司烜氏, Kâu Lî, Book XXXVII, 41-44), who by means of a mirror drew the bright water from the moon. How he did so, I do not understand. The object of the writer in this part of the section is to exhibit the value of simple sincerity in all religious services.
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