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Xun Xu and the Politics of Precision in Third-Century AD China Sinica Leidensia

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Xun Xu and the Politics of Precision in Third-Century AD China Sinica Leidensia Xun Xu and the Politics of Precision in Third-Century AD China Sinica Leidensia Edited by Barend J. ter Haar Maghiel van Crevel In co-operation with P.K. Bol, D.R. Knechtges, E.S. Rawski, W.L. Idema, H.T. Zurndorfer VOLUME 95 Xun Xu and the Politics of Precision in Third-Century AD China By Howard L. Goodman LEIDEN • BOSTON 2010 On the cover: The author’s own cover design shows a third-century figurine of a di-flute player (adapted from Wu Zhao, Zhuixian shiqu de yinyue zongji; cited Figure 9, p. 227). We can imagine this as Lie He, the flute expert and ensemble leader from whom Xun Xu gained technical knowledge. Yet Xun also remeasured and refashioned Lie’s way of making flutes and playing modal music by imposing his ideal of Zhou standards. (The E. Zhou bronze rule is adapted from photograph supplied by Nanjing University; cited Figure 4, p. 176.) This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Goodman, Howard L. Xun Xu and the politics of precision in third-century AD China / by Howard L. Goodman. p. cm. — (Sinica leidensia, ISSN 0169-9563 ; v. 95) Includes bibliographical references and index. ISBN 978-90-04-18337-7 (hardback : alk. paper) 1. Xun, Xu, d. 289. 2. Historians—China—Biography. 3. Scholars—China—Biography. 4. China—Intellectual life—221 B.C.-960 A.D. 5. China—Politics and government—220-589. 6. China—History—Chin dynasty, 265-419. 7. China—History—Three kingdoms, 220-265. I. Title. II. Series. DS748.44.X86G66 2010 931.0072’02—dc22 [B] 2009053995 ISSN 0169-9563 ISBN 978 90 04 18337 7 Copyright 2010 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands contents v DEDICATION To the spirit of learning and antiquity imparted by my father Mortimer Goodman (1917–1981), and the support toward that of my mother Sophia. Also to the spirit of sinology imparted by Hellmut Wilhelm, Frederick W. Mote, and Denis Twitchett, as well as their unforgotten friendship and that of their families. CONTENTS Dedication .............................................................................. v List of Maps, Figures, and Tables .............................................. xi introduction: the zhengsheng 正聲 mode ........................ 1 Showing Up in Shishuo xinyu .............................................. 1 Biography Large and Small ................................................. 5 A More Real Xuan ............................................................. 12 Directions Toward a More Real Xuanxue ............................... 17 Conclusions, Findings, and Suggestions ............................... 22 Xun Xu’s Use of Zhou Antiquity ........................................ 22 Politics of Precision ......................................................... 23 Archeology, Historiography, and the History of Sciences and Technologies ........................................................ 25 The Earliest Sources for Xun Xu’s Life ................................ 27 The Seven Chapters and Acknowledgments ......................... 29 1. the xuns of yingyin and luoyang ................................. 35 Commemorating Kin and Supporting Learning: Yingchuan to about 212 ad ............................................. 38 The Lay of the Land ...................................................... 40 Xun Leadership In and Around Yingyin ............................ 43 The “Commemorative Tablet 碑 for Prefect of Palace Writers Xun Yu” ........................................................................ 50 Xun Yijing Scholarship ..................................................... 52 The Xuns in Luoyang to about 282: Sorting Out Zhengshi Styles and Establishing Jin Imperial Ties .......................... 57 Xun Can, a Prototype of the Zhengshi-era Mavericks ........... 59 Xun Yi and the Traditional Path Followed by Can’s Older Siblings ............................................................. 62 The Impact of Xun Scholarship in Luoyang ......................... 65 Xun Musicologists and Legists ........................................... 69 Xun Xu’s Foothold onto a New Career ................................ 72 Xun-Family Pathos in an Entombed Epitaph of 295 ad ........ 75 “Commemoration for Xun Yue of Yingchuan Yingyin, Jin-[Era] Late Gentleman-in-Attendance of the Palace Writers” ............................................................... 78 viii contents Xun Wives and Daughters ................................................ 80 Material and Evocative Aspects of Xun Burials .................... 82 Memory and Counter-Memory ........................................... 84 2. xun xu’s first posts, ca. 248–265 ................................. 91 The Political Taint of Cao Shuang’s Regime, 240–249 .......... 94 Former Cao-Wei Men as Ethically Correct Jin Stalwarts ........ 100 The Cooperative Exegete ..................................................... 103 Factions ........................................................................... 107 Anti-Xun Xu Roots in the Wu War Factionalism ................. 109 The Tone of Xun Xu’s Early Career ..................................... 111 Factions as Cooperative Struggle ......................................... 118 3. aesthetics and precision in court ritual songs, ca. 266–272 ........................................................................ 121 Wealth and Collecting; Design and Construction ................ 123 A Coterie of Lyric-Writers for Court Music .......................... 125 Higher and Lower Music; Court Music and Party Music ........ 127 A Lyric-Writing Competition .............................................. 133 The Song-Writers as Political Actors ................................... 136 Competing Lyrics for the Dance-Song Performances ............. 140 A Turn toward an Aesthetic of Precision ............................... 150 The Aesthetic and Philosophic Thrust of Xun’s Lyrics ............ 153 Who Was the Xun Balladeer? ............................................. 155 4. commandeering staff and proclaiming precision, ca. 273–274 ........................................................................ 161 High-Stepping into Bureaus and Imperial Holdings ............. 163 Problems in the Bureaucratic Structure of the Palace Writers Office ............................................................. 164 An Archival Project with Zhang Hua .................................. 168 The Wider World of Metrology ........................................... 171 Xun Xu’s Metrology ............................................................ 175 Xun Xu the Hypersentient “Metrosophist” .......................... 177 Xun Chuo, Writing For and About Family .......................... 179 The Earliest Descriptions of the Process behind Xun’s Metrology ........................................................... 180 The Inner Story of Xun’s Metrology ..................................... 183 The Antiquarian Flurry ....................................................... 187 Xun Xu’s 274 ad Colophon Stating Seven Old Devices as Metrological Witnesses ................................................. 191 Tracing Ghosts of the Official Bronze Foot-Rule of Jin ......... 194 Li Chunfeng’s Antiquarian Jury .......................................... 197 Li Chunfeng Throws Solvent on Legend and Evidence .......... 203 contents ix Ritual Mensuration, Music, and Early Sciences .................... 207 The Prisca Zhou ............................................................. 208 Habits of Science in the Third Century: Status, Sites, Techniques ................................................................. 212 5. a martinet of melody, ca. 274–277 .................................. 215 Problems of Pipes and Pitches ............................................. 217 Flutes, Regulated Pitch, and Musical Scales ......................... 217 Xun Xu’s Regulators and Di-Flutes .................................... 225 Xun Xu’s Flutes Versus Lie He’s Mode ................................. 228 Songshu’s Bundle of Documents On Xun Xu’s Musicology ..... 228 Annotated Translation of Xun Xu’s Memorial of 274 ad and Xun’s Dialog with Lie He ........................................ 232 Songshu Part 17: Xun Xu’s Flute Temperament and the Impact of New Modes .................................................... 256 The Pitch Distortions That Xun Xu’s New Flute Indirectly Attempted to Solve ...................................................... 259 The Modal Variety That Xun Xu Attempted to Thwart ......... 263 Proto-Sage Versus Martinet ................................................. 265 Ruan Xian’s Complaint: The Flutes Are Shrill and Laden with Grief ......................................................... 266 Ruan Xian in Mundane Terms .......................................... 269 The Ruan Xian and Shan Tao Legends as Framed by Western Jin Politics .....................................................
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