Si Shun

Emperor Shun ("2317-2208" !) is said to have served Emperor Yao ("2356-2255" !) so well that, when his own son proved unworthy, Yao named Shun as his successor. Both emperors have been greatly honored throughout Chinese history, as has been Wen Wang (Civil King, 1231-1135), the person to whom this piece is attributed.

Versions of this melody appear in 14 handbooks to 1802 under various titles, including Wen Wang Cao (a current version is recorded by Cheng Gongliang), Wen Wang Qu (also the title of an unrelated melody in Taigu Yiyin), Wen Wang Si Shun, Wen Wang Si Shi and Lü Wang Xing Shun.⁴

However, the earliest surviving version of the title Wen Wang Cao as a qin melody is the short version with lyrics found in Taigu Yiyin (1511). That version includes several musical motifs found here in Si Shun, but it has the melody of Wen Wang Qu. It is impossible to know the origin of these titles, or the melodic material.

The biography of Confucius in the Shi Ji, Chapter 47,⁵ tells of him learning a melody from Shi Xiang (or Shi Xiangzi). After Confucius had learned to play it, Shi Xiang said he could go on to the next one, but Confucius said he had learned only the melody, not the techniques. Later, when Shi Xiang again said he could go on to the next piece, Confucius said he had not yet caught the spirit. Next he said he could not yet visualize the person who was behind it. Finally he was able to identify the composer as Wen Wang (King Wen). Shi Xiang then bowed to Confucius, and identifed the melody as Wen Wang Cao. The same story is told on the illustration included above.

The title Wen Wang Si Shi occurs in a version of the Qin Cao attributed to the famous qin player Cai Yong (133-192).⁶ It connects the melody to the story of Wen Wang meeting Lü Shang quoted from the Book of History below under Shi Xian . Si Shun is often paired with Weibin Yin,⁷ which also concerns Lü Shang, though the lyrics of Si Shun only concern Shun.

Elsewhere Wen Wang Si Shun (or a version of it) is attributed to Xu Hezhong ⁸, a famous qin player near the beginning of the Ming dynasty. None of the early handbooks, including those three specifically using this title (Faming Qinpu [1530], Fengxuan Xuanpin [1539] and Taiyin Chuanxi [1551]) mentions Xu Hezhong or the Xu tradition. And there seem to be no indications elsewhere of what version(s) he may have played.

Zheyin Shizi Qinpu preface:⁹

(This piece), by Wen Wang, (is) commonly called Wen Wang.

The Beyond-Sounds Immortal says, as for this melody, Wen Wang made it and later people added to it. The Royal Ancestor's Handbook doesn't have this piece. The Book of History says,

"Wen Wang, or Chang, Chief of the West (and) senior among the feudal princes, cultivated virtue and thought righteously. He pursued thoughts of the virtue of the Great (Emperor) Shun. He was fond of inquiry and investigating shallow words. He employed worthy men and used ability. (He had a) divine personality and good fortune in the affairs of this world."

And so this was transferred into qin sounds in order to praise his righteousness, and make this melody. So it is said.

Music¹⁰
Section titles:

00.00 1. Thoughts of sacred virtue in a distant (past)
00.45 2. (Shun) succeeds to his position (through merit, not birthright)
01.25 3. He employs worthy people, utilizing their skills
02.06 4. He benefits people and builds an educational system
02.45 5. He has received the decree of heaven
03.24 6. The people can rule themselves
03.37 7. The divine spirit comes and things flourish
03.59 8. The emperor and his ministers advise each other
04.28 9. (We people today) could never pay sufficient respect (to Shun)
04.47 Closing harmonics
05.00 End

Footnotes (Shorthand references are explained on a separate page)

1. Si Shun 10734.xxx ; the story of Wen Wang thinking of Shun, as related here, is usually found under the title Wen Wang Cao (see below). Zha Fuxi's index does not consistently differentiate between the various melodies; for this see below. (Return)

2. Standard tuning can be considered as 5 6 1 2 3 5 6. For more information about 徵調 zhi mode see Shenpin Zhi Yi. For modes in general see Modality in Early Ming Qin Tablature. (Return)

3. From a illustrated book of the life of Confucius, originally published ca. 1930 but copying old images. The illustration is "學琴師襄 Studying qin with Shi Xiang", and it is taken from 孔子聖蹟圖，河北美術出版社，1996. The commentary indicates Confucius is learning the melody Wen Wang Cao, as in the present Qin Shi entry. (Return)

4. Zha, Guide, has three references:

11/115/194 Si Shun (plus Wen Wang Si Shun) has five entries from <1491
13/132/240 Wen Wang Cao (plus Wen Wang Si Shi, Wen Wang, and Lü Wang Xing Zhou) has 9 entries from 1511.
13/133/240 Wen Wang Qu (only in 1511)

As for these various titles,

文王操 Wen Wang Cao 13766.36 quotes Yuefu Shiji
文王曲 Wen Wang Qu 13766.xxx; title only in 1511, but the melody is related to others here
文王思舜 Wen Wang Si Shun 13766.xxx (used only as an alternate title)
文王思士 Wen Wang Si Shi 13766.32 (tells Lü Shang story)
呂望興周 Lü Wang Xing Zhou (Lü Shang was also called 太公望 Tai Gong Wang.
(Return)

5. 詩集 p.1925. Translated by Yang Xianyi and Gladys Yang in Records of the Historian (Hong Kong, Commercial Press, 1974), pp.13-14. "Melody" is 曲 qu; "technique" is 數 shu; "spirit" is 志 zhi (in Shen Qi Mi Pu Zhu Quan often discusses the zhi of a melody); "man behind it" is 為人 wei ren. Shi Xiang (師襄 9129.189) is also called 師襄子 Shi Xiangzi. (Return)

6. There seem to be two versions of the Qin Cao attributed to 蔡邕 Cai Yong. (Return)

7. 渭濱吟 Weibin Yin (Return)

8. 徐和仲 Xu Hezhong was said to be a fourth generation descendent of Xu Tianmin. His biography in Xu Jian's Qin History Outline, Chapter 7.1.A (p.124), includes a story, also told here, about Xu playing the melody Wu Ye Ti. (Return)

9. The original Chinese preface can be seen under 思舜. (Return)

10. The original Chinese section titles can be seen under 思舜; original lyrics not yet online. (Return)

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